Terminator The Across Time Chronicles
by F.S.N. Stefan
Summary: This is the sequel of Terminator The Resistance Fighters Chronicles. John, his family and his amazing friends will go back to stop J-Day after all. The whole is written in script format. Sorry about that but please think that the original TSCC was also written in script format before filming. Read and review it as before. Rated M for sexual contents. The last episode was uploaded.
1. EP01 : Same where, different when

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**Terminator:  
The Across Time Chronicles**

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**F05E01**

"**Same where, Different when"**

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**Written by  
Stefan1994**

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This document is fan-produced fiction based on the television series, Terminator - The Sarah Connor Chronicles, and a fan-made season of fan fiction, F03 and F04 Terminator - The Resistance Fighters Chronicles, written by Stefan1994, eyeshieldTe and Mario28. This is done in spirit of fan fiction, to have fun and enrich the total fan experience beyond the limitation of the original story vehicle. In that spirit, and holding to the long tradition of free promotion. This story is being made available to the show fans for entertainment purposes.

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* * *

**TEASER**

WE OPEN ON:

EXT. TOPANGA CANYON – DAY

SUPERIMPOSE: "JUDGEMENT DAY"

SARAH CONNOR, bleeding, tired and weak, is standing on the top of Topanga Canyon, watching the nukes that are flying on the sky to attack many cities in the view she can watch.

AT THE BIG STONE BEHIND HER:

PREVIOUS FUTURE WARAPOP PICHITCHAI aka THE ENGINEER E. BOYKINS puts a high tech box behind it, the screen on it shows: "Calculation for time jumping..." He wears like the senior resistance fighter. He pushes on the green button on it and the screen says: "Jumping target: July, 2030", "Please wait...";

The engineer walks toward Sarah. His hand gently touches on Sarah's shoulder, turning her to face him. She looks really surprised this time.

SARAH  
Who are you?

THE ENGINEER E. BOYKINS  
I'm really glad to see the legend right now.  
You and Kyle and the terminator. I'm sorry  
about that. I can't help you that time.

SARAH  
You know me, grandpa?

THE ENGINEER E. BOYKINS  
We lost ones we love, Ms. Connor.

Sarah looks more confused. The engineer smiles so proudly.

THE ENGINEER E. BOYKINS  
It's 49 years I never forget. I came across time  
to change things and saw what would happen after  
the change. My friends confirmed a lot about you.

SARAH  
Who are you?

THE ENGINEER E. BOYKINS  
It doesn't matter anymore. The nukes are attacking.  
I'm really nice to see you today even it's our last  
day for living.

ON THE SCREEN OF THE BOX: "TIME JUMP READY..." "Automatically work in 1...2...3..."

The engineer reaches his hand.

THE ENGINEER E. BOYKINS  
I'm Warapop Pichitchai. Nickname's Stefan.  
Current alias is E. Boykins. I built the  
vault for you and your son 49 years ago.

This is Sarah's surprised time, surprising last time of her life as a fighter of the human resistance. The engineer who never showed up, now he's beside her and he's gonna die at the same when same where with her. Sarah thinks about this surprise for a few seconds. She takes his hands and they shake hands as the nuke falls closer and closer but it's just not their time. We can see the mushroom cloud but they are still out of nuke ranges.

SARAH  
It's more than I expected. You are the  
last surprise in my life. I'm sorry for  
this. I tried but couldn't stop it.

THE ENGINEER E. BOYKINS  
Derek Reese, Kyle Reese, Timms, Sumner, Sayles,  
Cameron, T-1001, and Wells. They all traveled  
back and didn't stay long. Cameron's become  
deactivated. T-1001 went across time again.  
The rest are dead. So what about me?

SARAH  
Die here with the legend.

They smile to each other so friendly. Then they turn to look the view together. The engineer closes his eyes, being peaceful as his tears flow.

THE ENGINEER E. BOYKINS  
(whispering)  
I love you, Allison.

Sarah closes her eyes. She doesn't notice the time bubble which is surrounding around her. With pain of every time travel, someone may scream out of pain.

THE ENGINEER E. BOYKINS  
Not today, Sarah Connor.

The nuke falls onto the Topanga city nearby. THE SKY EXPLODES. SOUNDS OF THE LARGE EXPLOSIONS. THE BLAST WAVE HITS...The world melting in a nuclear apocalypse. And it fills our frame with the WHITE LIGHT and the sounds of many people are screaming including Sarah Connor.

DISSOLVE TO:

A FULL MOON FILLS THE FRAME - Luminous, tinged with gold. Slowly, a penumbral shadow begins to spread across the moon's surface, darkening it from left to right...

CAMERON (V.O.)  
Time is the thing that never wait for us.

... until the moon is enveloped in shadow; a new moon...which disappears into the darkness.

CAMERON (V.O.) (cont'd)  
Like when the planets, the moons and everything  
in this universe move. Time never stops running.

OVER BLACK - A RUFFLED TULIP appears, isolated against the blackness.

CAMERON (V.O.) (cont'd)  
Even the psychics or even any scientists in the  
world can't stop it. We can displace our selves  
in any time like the rules of science behind the  
physical logic of the universe. The time changes  
but the location in the system never changes.

HOLD ON the tulip as the background FADES UP around it to reveal we're now in -

EXT. FOREST - ECU ON THE TULIP - DAY

It's surrounded by the dark, lush, greenery of the forest floor.

CAMERON (V.O.) (cont'd)  
This forth dimension always changes thing which will  
happen to the same location. It always changes every  
physical objects and proves that relativism is right.

SUDDENLY A FOOT SLAMS DOWN next to the tulip, nearly crushing it. As the foot immediately lifts off again, it grazes the tulip, knocking its petals off -

ON THE RUNNING PAIR OF FEET

They abruptly change direction. Race on. INCLUDE ALLISON PICHITCHAI, of about 21, her left arm still has Skynet barcode tattoo. It looks very faded. She is desperately searching the woods - SHORT, SURREAL CUTS of her frenetic quest-

ALLISON  
Stefan!

Ahead, through the darkness of the thick forest, she SEES SUNLIGHT; a clearing. She hurtles toward it-

EXT. MEADOW – DAY

ALLISON  
Stefan!

- as Allison bursts into the sunlight. She sees-

ACROSS THE MEADOW - AN OLD WOMAN, white hair framing her withered face. Allison's eyes widen with surprise as she recognizes-

ALLISON  
Gran?

GRAN looks as surprised as Allison. Allison smiles and waves, as does Gran. Allison starts toward her but-

E. BOYKINS (O.S.)  
Alise...

She spins to the voice behind her to SEE-

WARAPOP PICHITCHAI who is known as STEFAN and some people including us always know him as E. BOYKINS, emerge from the forest. She beams at him, relieved, in love...until he moves to edge of the shade, inches from sun's rays-revealing him as a 20s year old man.

ALLISON  
Stefan. You look...good.

Yes, he looks much older than her. But E. Boykins just smiles and steps into the sunlight.

JUMP CUT TO: E. Boykins now inches from Allison, still glistening, entrancing her. She wraps an arm around his waist, then arranges her face into a calm expression. They turn to -

Gran, whose expression is calm, too. Gran's arm is extended, as if she also holds someone.

JUMP CUT TO: E. Boykins and Allison, only feet from Gran now. Allison's about to present her husband, but then SEES that -

Gran mimics Allison's movement exactly. With growing horror, Allison reaches out to Gran...and touches glass!

PULL BACK TO FIND Gran is now surrounded by a GILDED FRAME. It's a MIRROR, mounted on a wall with wallpaper reflecting a surreal dreamlike version of the forest behind Allison.

ALLISON  
Oh! Stefan. What is this?

-as she realizes that's not Gran; it's Allison herself, sixty-five years older.

Allison spins to her perfect, eternally 26-year-old E. Boykins. He takes her now WRINKLED, age-spotted hand. Kisses it.

Then he leans in very close to her 83-YEAR-OLD FACE and whispers into her ear-

E. BOYKINS  
Mind can control everything. But my love  
is over my mind. I love you, Allison.  
We'll live together. As long as we can.

SMASH TO:

INT. KIDROOM – MORNING

ON ALLISON - her eyes snap open. Allison is now four month pregnant. She lies atop her son's bed. An I-pad, with saved web page "Mind power and Immortality," lays turned on on her chest with her two-year-old boy-SITTIPONG PICHITCHAI. Allison sits up, the dream still weighing on her...

INCLUDE THIS ROOM, cluttered with pictures of E. Boykins, of the Connors and of other resistance fighters; memorabilia of all things they did together. Those pictures aren't big but not too small for us to see. A KNOCK on the door. E. BOYKINS on his wheelchair enters, seeing Allison with her son who is still asleep on her arms.

E. BOYKINS  
That pad has the files you wanted?

Allison glances at the I-pad she has putted on the small bed beside her son. And looks up at him with a warm smile.

ALLISON  
Yes. It has.

E. BOYKINS  
You should turn it off. The battery looks low.  
Maybe you can charge its power from the 850's  
cells we have. John and Cameron modified them.

ALLISON  
Yes. I know what they had done together.

Allison looks at the I-pad and reaches her hand to turn it off.

E. BOYKINS  
How is your last night?

ALLISON  
Plumb loco, sweetie. My dream's plumb loco.

E. BOYKINS  
Dream effects everything in our lives, Allison.  
Especially, psychic's dream is very powerful.  
It also sometimes can become real.

ALLISON  
I know. I read that. But I'm not.

E. BOYKINS  
You know what? I've never had bad dream since the  
Connors came through time. It means good. It means  
that there may be nothing bad happen soon.

Allison just smiles. She tries to forget her dream

ALLISON  
I've hoped that you've been happy here.

E. Boykins looks around himself and his wheelchair, and shrugs.

E. BOYKINS  
Yeah. I think.

ALLISON  
I wish to know why, Stefan.

E. BOYKINS  
Why what?

ALLISON  
Why can you or even any psychics be immortal?

E. BOYKINS  
You mean about never-age-being, right?

Allison nods. Her expression has curiosity. E. Boykins thinks about it very fast and seems to understand it.

E. BOYKINS (cont'd)  
That's unlikely. Not every psychic can be immortal.  
It's about how we control our body to be and I've  
never trained to stop my aging. It shouldn't be hard  
for me but I just don't want it.

ALLISON  
I'm sorry. I just feel tired. I haven't cooked yet.

E. Boykins smirks.

E. BOYKINS  
No. Your sis has done it all. Get him. I'll call Glau.

ALLISON  
Do I have to wake him up?

E. BOYKINS  
Yes, you do.

INT. HALL – MORNING

This is exactly same as before but there is a wooden 2x3 square meter elevator which is designed for wheelchair. The control of this small elevator is on its edge. Allison with her son, and E. Boykins on a wheelchair get in the elevator floor. Allison pushes on the button and mini elevator motor below starts working, bringing them down to the first floor.

E. BOYKINS (cont'd)  
This morning, we have pancakes.

ALLISON  
I know. I smell it.

The elevator reaches the first floor. They exit the elevator floor and head to the kitchen.

E. BOYKINS  
And it also smells good.

ALLISON  
Yeah. Good.

They enter the kitchen.

INT. KITCHEN – CONTINUOUS

JOHN CONNOR, MARCUS YOUNG and KYLE REESE sit pembroke table. Marcus and Kyle already had their plates of pancakes. Beside John is a seat for CAMERON CONNOR who comes and serves John a plate of pancakes. The Pichitchais come.

ALLISON  
Good morning.

CAMERON  
You were deep.

Allison sits on the free seat. E. Boykins moves toward the space that has no chair and turns on the brake.

ALLISON  
Yes. That's tough luck.

CAMERON  
No. Cooking is so fun for me, Allison.  
This is my recipe. A teaspoon of vanilla  
to the recipe on the box. John loves it.

John looks at Cameron and smiles. Cameron just glances at him and turns back to look at Allison.

ALLISON  
We'll try.

NEVLIN GLAU serves them their plates. They get more pancakes than the Connors.

ALLISON  
Thank you, Nevlin.

Nevlin smiles friendly.

NEVLIN  
Maybe I have some good food for him.

Allison looks down at her son. Then she looks at Nevlin who smiles at her. E. Boykins nods to her. She turns to Nevlin again and sends him her son, carefully.

ALLISON  
He likes to...

NEVLIN  
I know.

E. BOYKINS  
Let's eat it. We have a lot of things to do.

CAMERON  
Yes. A lot of things.

They start their breakfast.

EXT. COFFEE BAR – DAY

New Coffee bar near Zeira center has couple of metallic tables and couple of wooden ones outside and the most of bar is in the unfinished repaired building, PRESIDENT SAVANNAH WYMAN and PATRICK WYMAN are sitting at wooden table and drinking Coffee.

SAVANNAH  
What do you think about that scientist?

PATRICK  
I can't really tell, Savy. He's not that kind  
of suspicious person. And his story seems real.  
Maybe Stefan can tell us more about this Thai.

SAVANNAH  
People still don't know yet where they are. If we  
get to them, their lives won't be as they want.

PATRICK  
What if we send someone to greet them?

Savannah sips her coffee.

SAVANNAH  
What if we date them around here?

PATRICK  
Some people may follow them back. Then it'll be like  
we thought. Only one way we can do is to send someone  
there and date them out of this city.

SAVANNAH  
Your plan is good, my love.

PATRICK  
Yes. I'm your husband. That's what I should be  
for you. A clever husband of the president.

Savannah smiles bashfully. Then they reach their hands to hold each other's at the center of their table.

PATRICK  
I know you can be very busy and have a lot of  
problems to think about. But thank anyway for  
this, Savy. It's not usual for us to have time  
together. This is very valuable moment for me.

Savannah just smiles.

SAVANNAH  
Thank you for understanding me. I think I'll be  
with you this night. Our time for good date.

Patrick releases her hand and gives her a small smile.

PATRICK  
I'm so proud of you, Savy. Honestly, Mrs.  
President, I never thought that woman can  
do all these works. But now I think woman  
is so good of these too.

SAVANNAH  
(proudly)  
Feeling the power of androgen, Mr. Wyman.

They both take a sip of coffee, and pause for a moment.

PATRICK  
Good luck to you, Savy. I think I have a  
job now. See you again this evening.

SAVANNAH  
Yeah. Good luck to you too. Bye.

Patrick stands and leaves her. Savannah just pauses.

* * *

**ACT 1**

**(Three-headed wolves VS. a terminator)**

EXT. PARK – DAY

John and Cameron are walking together in a park near Lake Palmdale. Cameron has her new pink dress with her favorite jacket and John has his blue jeans and his new green shirt. No one else is around here, just them both. Their expressions are happy as their hands hold each other's. When the sun shines on their hands, the diamonds on their wedding rings reflect the beautiful glittering light.

Cameron laughs.

CAMERON (cont'd)  
So that's why you wear green.

JOHN  
Yes. It displays my peace attitude. I don't want  
anyone more around here. It's just you and me.

They stop walking, hands holding still. Lock eyes.

JOHN (cont'd)  
Today is the day, Cameron. The day I never expected  
to see or even live for. I had always lived for my  
own idea and my own life. I had never thought of  
you. Anything about you. Never.

CAMERON  
But this time. What about this time?

JOHN  
Since I came across time to this future, I've known  
what will happen or would happen. I thought I knew  
how the life in this future would be but I need you.

Cameron looks in his eyes, fearful. But she relaxes, takes a breathe and touches his face. She's done all these with the real feelings she has or has had for him all her life.

CAMERON (cont'd)  
John, this human brain works unlike machine.  
It learns so fast but also it loses some data.

Cameron looks a lot like her older self by this. John just smiles as his left foot moves around on the ground and his hands cross, completely bashful.

CAMERON (cont'd)  
Allison ever said that if I become a human, I'll  
learn why humans love and how humans love and how  
it feels like about love.

JOHN  
She's right?

CAMERON  
Yes, John. I love you.

JOHN  
Maybe this place is right for just us both.  
Thank you for your accommodation. This is  
very good date for me.

Cameron looks confused.

CAMERON  
We just walk away from home?

JOHN  
Yeah. Just that. But my attitude has told me  
that this is very good moment for us both.

Cameron seems to understand that. She smiles very happily. And she completely melts him.

CAMERON  
Your heart beat is fast. Do you want to...

With that, John quickly silences her, interrupting her by a kiss. Just his lips press on hers and he deepens it hungrily. Her eyes have widely opened before she closes them. Her hands release from his back and caress his back very gently, kissing him back and joining his tongue game beneath the small space between their lips and mouths. Eyes keep close as their tongues dance with each other inside that space. Depth of this kiss isn't long but Cameron just breaks the kiss and steps back just one step.

CAMERON  
You have an erection, John.

JOHN  
Yeah. Yes. I do.

CAMERON  
Can I do you favor?

Then they both step into another kiss.

EXT. GARDEN – DAY

Kyle Reese and Marcus Young are in the garden, gathering some strawberries into their 6" shallow basket. They do it gently, snap the stalk behind the fruit to remove it from the plant. And they do the same with all grown strawberries.

KYLE  
Is this exactly the good lives we want?

MARCUS  
Why do you think it's not?

KYLE  
I don't know. Sometimes I feel bored.

Marcus smirks.

MARCUS  
Do you want to get in the forest, Reese?

KYLE  
To do what?

MARCUS  
Hunt mutant animals or some deers. They can  
be good food for us in the near future.

KYLE  
Negative. I don't like hunting. I never want to  
kill living. Only bad machines I like to kill.  
You have anymore choice?

Marcus laughs, happy.

MARCUS  
Like I ever expected, Reese. You don't really agree.

Kyle looks down at the last strawberry he is gathering.

KYLE  
You know what? Nothing is more useful than fruit.  
Vitamin C, A, B and a lot of useful nutrients. This  
must be why Stefan had sent some of his men here  
to grow it before he died and resurrected then.

MARCUS  
You are saying that this psychic is very sharp.

KYLE  
Yes. You can say that. But only sometimes in the  
past we don't like his laziness.

MARCUS  
Stefan's lazy. How can you tell?

KYLE  
If he were not, we'd win Skynet before the Connors  
and those allied machines came to help and win it.

Kyle gently puts that strawberry into the basket. They stand.

KYLE (cont'd)  
And you know as well that this psychic can kill  
many machines in a few seconds. You know as well  
that this psychic can destroy the factory with  
only his mind. I think. This psychic is playing  
a game with us. The game which has been running  
and staking on the human race.

MARCUS  
I don't think so, Kyle. I think. He might not can control  
all his power. Might be this reason he couldn't destroy  
them by just one shot you ever thought.

Marcus grabs the basket.

MARCUS (cont'd)  
Don't forget this. No one now can unlock all real mind  
power human has. No one can take over the whole. And it  
is really not about the brain but the whole mind.

They start to walk, heading toward front door.

KYLE  
Even Cameron's overclocked brain?

MARCUS  
Science strategy can't control it. The whole  
brain is just a platform which is out matched.  
Like when Xander couldn't implant the software  
of Emma Akagi into the low tech chip.

KYLE  
What if we humans become like machine?

MARCUS  
Definitely, not at this age. But it can be  
possible in the far far away future.

They reach the front door and just stop there, continue their long conversation.

KYLE (cont'd)  
Good to know, Mr. Young. How can you know all this?

MARCUS  
We've downloaded many pages from computers we found  
into our I-pads. Some of this knowledge is in them.

KYLE  
Maybe I should read some too.

MARCUS  
Yeah. I think. Maybe you can also see that why I've  
changed to be Buddhism like Allison and Stefan.

KYLE  
You never believe in God?

MARCUS  
At this point, who you'd believe if you were me.  
Everything in this age, bible can't tell all.  
Sometimes we just need the real reason, not just  
deism. Buddhist teaching has just basic rules.

KYLE  
I know. Everything has its own reason to happen,  
so please believe in what its reason is and also  
believe that the middle way is the best strategy  
to find the universe truth.

Marcus smiles proudly.

MARCUS  
Now do you want to be like us? Believe in Buddhist?

KYLE  
I think I won't. And I know you know why.

MARCUS  
I understand. I really understand. Besides, I've not  
wanted to insult the God but I just want to tell my  
friends more about this good belief. I just want us  
to share our believes.

KYLE  
I know your goodwill. Thank you so much, Mr. Young.  
I've got much new knowledge about human mind. Like  
you said, I should read them.

Kyle smiles and enters the house with the basket. Marcus follows him in.

EXT. FOREST – DAY

The forest is like the forest. Nevlin Glau walks, fully armed with hunting rifle, shotgun and THE PLASMA PISTOL, through the woods, searches for his victim.

NEVLIN  
This should be a good spot, Glau.

Nevlin then steps and then stops.

NEVLIN  
Careful, Glau. Careful. Your friends are waiting.

Nevlin ducks behind the tree. After a couple of moments, deer is calmly walking, and stops like it is hearing something. Nevlin carefully draws and aims his rifle.

NEVLIN'S H.U.D.: His T-888 display scans the whole endoskeleton of that deer in very new X-ray mode and quickly changes to be normal mode. His cursor locks the left leg as the first target, right leg as second and the head as third. The first shot is fired and attacks the deer, crippling its left leg.

The deer, now is trying to run.

Nevlin shows up and fires another shot right at its right leg. It falls and cries out loudly. Nevlin doesn't want to torture.

NEVLIN (cont'd)  
(whispering)  
I'm sorry.

The last shot is fired and head-splats the deer, killing it without mercy. Nevlin lowers his rifle and a couple of tears flow from his eyes. Only these are from that dead deer.

ON THE DOOR, it's just right there. Dead. One of its eyes still open and another was completely destroyed by that shot.

Nevlin kneels down beside the dead deer.

NEVLIN  
Hopefully, next life you'll be born to  
be higher class living and I won't kill  
you again like this. Bye.

Nevlin says it so humanly. He slowly reaches his hand toward its eye lid and gently closes it. The eyelid is completely closed. Nevlin smiles and relaxes. As a terminator, he slowly reaches for the dead and lifts it up on his arms, carries its body with him toward the south.

EXT. TRUCK – DAY

Nevlin closes the big freezing box which is cold and big enough to keep that deer inside. He stands, carries it up in his strong hands and puts it down on the back of the truck.

NEVLIN  
Finish the job, Glau. Get back your home.

Nevlin puts his rifle and his shotgun onto the back of the truck and closes the hood. As he steps just one step, he hears something from the forest nearby.

NEVLIN  
Oh! They can be big ones. Far from home.

Nevlin pulls a pistol, holds it at the ready as he starts walking, into the direction of the noise.

Nevlin looks around. He spins and fires in the direction of the approaching PACK. Suddenly it's quiet- the animals fan out, forming a circle around him.

NEVLIN  
I don't want to play a game, dogs.

QUICK SHOTS of MUTANT EYES, glowing in the dark-ENLARGED TEETH-DARK, THREE-HEADED MASSIVE FORMS moving through the brush.

NEVLIN  
You follow the blood but I can't let  
you get it, dogs. It's mine. I found.

After a few tense beats, from the foliage-

A THREE-HEADED WOLF leaps at Nevlin from behind-it's hideous, the size of a Great Dane, hairless, with veiny, wrinkled skin, long, catlike CLAWS and three heads on its neck. Nevlin grabs the slavering creature by the throats. It SNAPS its ELONGATED TEETH at him, but he manages to BREAK its neck and hurl it toward-

TWO MORE WOLVES moving in for an attack.

NEVLIN  
Damn it!

Nevlin quickly runs across the forest toward his truck.

THE WOLVES move, bark, thunderously SNARL and SNAP as Nevlin runs pass his truck into the glade. The wolves run after him.

Nevlin SWINGS at the dark silver three-headed wolf, SMACKING the wolf half-way across the glade. Another wolf lunges at him- he kicks it and it sails into a tree, SPLINTERING it.

NEVLIN  
This isn't your day, dogs.

The wolves recover. One of the dark silver one's heads is distorted, one of its three lives has died. It can't be good for other two lives. And another one looks painful but this seems that they won't surrender easily.

Nevlin draws his pistol and blasts one plasma shot at the dark silver one as it moves toward him. It has one head now. But Nevlin is slow to aim again, he intends to punch-and yes, he punches into its head, throws it across the glade.

Another wolf moves around him, watches his manner carefully.

NEVLIN  
Come on, dog. I don't have much time.

Nevlin stares hard at the last wolf, doesn't see another one who rises and jumps and moves toward him from backward.

The two wolves rush at the same time. Nevlin just kicks the one in front of him away. Another one bites on his shoulder, rips his skin around his left shoulder off like buck, chewing that bite as its good food. Nevlin quickly nudges its stomach and kicks it away from him with anger.

Nevlin turns to see another one rises and rushes toward him. He quickly evades and it just jumps over his head. Nevlin grabs his pistol so quickly, spins and FIRES a plasma round at its chest as its legs tread on grass. The round burns and destroys its heart, causing it dead.

NEVLIN  
Like I said, it's not your day.

The last one, the dark silver one, rises, looks at Nevlin and it is revengeful and ready to fight Nevlin again.

NEVLIN  
Don't think that, dog. Your friends  
are dead. I don't want to kill anyone  
if it's not compulsory.

All the wolf's heads thunderously SNARL and SNAP at Nevlin. Its legs shrink, targets Nevlin and jumps so powerfully.

NEVLIN (cont'd)  
Okay. You want it yourself, dog.

Nevlin takes aim and fires.

EXT./INT. TRUCK – LATER

Nevlin is on the driver seat, the door is still open. He completely bandages his shoulder by a big piece of cotton.

NEVLIN  
Okay. I think I should go back home.

Nevlin moves completely into his seat, closes the door, smashes the cowl around a steering column with one blow from the palm of his hand. When it shatters he strips it away with a single move, and then turns the stub of the lock-mechanism with his fingertips. This starts the vehicle. It takes about three seconds. In fact, he does it so quickly, the truck is running.

Nevlin drives the truck carefully.

INT. GARAGE – DAY

No cars. Allison's mountain bicycle props against the left side wall nearby the iron gate. Allison sits on a chair in front of it. She touches it, remembers the good past in her memories. E. Boykins rolls his chair into the garage, seeing Allison. He doesn't want to distract her so he just pumps his chair in very carefully and softly. And he stops as he hears a loud exhale from her and sees her touch the gearwheel.

ALLISON  
I'm sorry, mom.

Sadness is on her face. She looks tearful.

FLASHBACK TO:

INT. GARAGE - PAST – DAY

ON THE FLOOR: it is like a kind of secret door in this house at this time. The whole garage is burnt. Some parts of roof are destroyed. The glasses on a car are broken by shock wave. This is the day after Judgement Day.

SUPERIMPOSE: "JANUARY 1, 2013"

YOUNGER ALLISON YOUNG(4)and her mother, MRS. CLAIRE YOUNG(S02E04), open the secret door and exit from the basement. Claire and Allison look around.

CLAIRE  
We have to go, Alise.

YOUNGER ALLISON'S POV.: The mountain bicycle is near the iron gate. The gearwheel is damaged. Some parts of its lose shapes.

YOUNGER ALLISON (cont'd)  
No. No. No. My bike.

CLAIRE (cont'd)  
Allison! Leave it.

Allison runs toward her bike, her face is full with tear. She touches the gearwheel, crying for it. Claire exhales and walks toward her, touches on her shoulder.

CLAIRE  
We have to go, Allison. I'll buy you a new one soon.

YOUNGER ALLISON  
(crying)  
No one is like her. She'd been with me all time  
I was alone. I can't leave her, mom. Can you just  
fix it? Can we just stay here and fix it?

CLAIRE  
I'm sorry. But we have to go. We don't have much time.

YOUNGER ALLISON  
No. I won't go anywhere if she's still here.

Claire can't do anything. She tries to change Allison's mind but Allison that time is very persistent. Claire just kneels beside her and gropes on her hair.

CLAIRE  
We need to go, Allison.

YOUNGER ALLISON  
Come on, mom.

Claire exhales, she has a millstone.

CLAIRE  
Okay. Alise. I'm gonna fix it.

Allison looks happy and quickly hugs her. Claire suddenly wraps her arms around Allison, lifts her up.

CLAIRE (cont'd)  
I'm sorry for lying to you.

Allison notices that, she quickly pounds on her mother, trying to get out of her embrace.

YOUNGER ALLISON  
Let me go, mom. She's there. I have to fix her.

Allison jumps out of Claire's embrace and quickly runs toward the bike. MARCUS YOUNG with ANNA YOUNG(Allison's sister, 2), YOUNGER KYLE REESE(S01E09) and YOUNGER DEREK REESE(S01E09), enter from another way behind Claire. Only Derek and Kyle have shotguns on their hands. Marcus shouts to them.

MARCUS (cont'd)  
Get out of that way, Alise.

Claire suddenly realizes, she quickly rushes toward Allison at the same time someone out there pounds on the wall nearby Allison. Claire wraps her arms around Allison and throws her toward Reese brothers. The wall is broken, a T-500 gets in and aims its machinery gun at Claire's chest.

MARCUS  
NOOOOOO!

Claire loses her mind. With her own fear, she can't move. The robot quickly blasts her chest. And then it rakes at the rest but they are faster, evade and hide behind the wall and the car. Marcus has some tears but he has to protect his daughters, sadness won't help him better. He quickly spins and under the space of the car, Marcus lies and fires his pistol at the robot leg. Nothing is useful but...

...that just gets its attention at him.

The Reese brothers both show up and blast their shotguns at its head, again and again. The shots can destroy its eyes and then its sensor. Marcus shows up and helps firing, killing that robot.

The T-500 falls, deactivated.

MARCUS  
Claire!

Marcus with Anna and Allison quickly rush toward Claire who is almost dead. The shot from that T-500, blasted at around her chest near her heart. Blood is flowing from her wounds like waterfall.

MARCUS  
Claire, you will be okay.

Marcus puts Anna down on floor and looks at Claire, gets all his attention at her. Allison is kneeling beside her.

CLAIRE  
(weakly)  
Marcus, it's too late. I'm gonna die.

YOUNGER ALLISON (cont'd)  
MOM!

MARCUS  
Claire, don't say anything.

Marcus tries to carry her up but she doesn't want so. She shakes her head. And looks at Allison. And looks back at Marcus who is tearing. She touches his face so gently and weakly.

CLAIRE  
Marcus, swear with me. You will...

Claire coughs.

CLAIRE (cont'd)  
You'll take care of our daughters.

MARCUS  
I swear.

YOUNGER ALLISON  
No, mom. I'm sorry.

Claire reaches her hand to the soft cheek of Allison's, touches it with her weakness.

CLAIRE (cont'd)  
(weakly)  
Don't be persistent to him, Alise.

Claire's hand falls, lifeless. Allison cries out of her painful loss. She hugs her dead mother and that's only one thing she can do for her mother, one last time.

BACK TO PRESENT

A couple of tears flow from both of her eyes as her hand still touches at her loved bike. E. Boykins is watching her four meters away from her, somewhat feeling with her.

Allison keeps this sad moment for awhile and doesn't notice him.

ALLISON  
I'm sorry, mom. I'm so sorry. It's because of me.  
I'm a problem to everyone. Most of my people I  
loved have been always stricken because of me.

Allison starts to cry.

ALLISON  
(crying)  
I don't know why. Why have I always made my  
loves many problems?

FOCUS ON E. BOYKINS as he looks down at his incontrollable legs. Allison is still saying off scene. Tired Marcus Young enters the garage from behind E. Boykins.

ALLISON (O.S.)  
(crying)  
Why does it have to be like this? Why didn't  
anyone let me die when I was supposed to die?

On Allison, she cries on the croggy, very sad. E. Boykins and Marcus both just look at her. E. Boykins looks down at his legs again and turns away from her, faces Marcus.

E. BOYKINS  
(whispering)  
She needs you. You're her father.

Marcus shakes his head.

MARCUS  
(whispering)  
No. Not me. You. She needs you.

E. Boykins turns his chair and looks at her. He sighs and rolls toward her slowly and quietly. She is still crying on it and nothing or no one can help her better but he may can.

Allison tilts up, still crying.

ALLISON  
(crying)  
Why?

E. BOYKINS  
Because you have been so valuable to them too.

With that, Allison quickly turns to face him. He smiles.

E. BOYKINS  
Including me.

FADE OUT.

**END OF ACT 1**

* * *

**ACT 2**

**(Old data from the satellites)**

INT. THE CONNORS' TRUCK – DAY

It's a day but they are doing all this with carefulness. Her jacket is on the steering wheel. Both are breathing heavily as she gracefully and without hesitation grabs the hem of her dress and pulls it off over her head, revealing the body he's wanted to make love with. And he helps her put off her bras.

Her eyes never waver or leave his as she reaches over and undoes his belt, the button of his jeans and pulled down his zipper without looking. He lets out a soft groan, his eyes half-closing with the sensation of her warm, smooth hand fishing him out of the fly of his boxers. His cock pulses against the grip of her fist as she skims it lightly along his length.

JOHN  
(moaning)  
Oh! Cameron. I need you so much.

She shifts onto her knees, facing him, on the seat next to him. Finally, she takes her attention away from his face and puts it onto her slowly rising and falling fist. He sucks in a heavy breath through his nose and mouth and expels it in a slow hiss as she leans forward, the heat of her breath engulfing his dick head for a moment before her wet, warm mouth does. He groans heavily as she sucks and nurses at his dickhead, her tongue a soft velvet caresses as it swirls along his skin. His hips rise as her head lowers, her lips sliding down his length engulfing him in liquid heat. His hands hover over her head, she bobs her head slightly, dragging her lips up and down the top third of his cock, her tongue bathing him with feathery strokes that sent sparking, itchy shivers up his spine. Her hands are on his thighs and are rhythmically massaging them.

The heat, pressure and friction so echo his memories of what it feel like to be in her sex that his hips buck without conscious thought, thrusting himself even deeper, burying her nose into his pubes. Her hands tighten on his thighs, but she makes no move to resist him as his fingers wind into her hair, gathering it and drawing its dark curtain away from her face; holding her head in place as his hips rise and fall.

She sucks at him as he guides her head in unison with his hips making him groan and hiss, his spine arching and his eyes closing to slits with the pleasurable sensation of the friction of sliding along her wet heat. This somewhat never happened before and it's the first time they are doing fellatio. John hasn't been like E. Boykins who didn't want Allison to do this with him but John himself seems to like it as well. And Cameron seems to be a former cyborg who resurrected as a human. She still has data about this and keeps it as long as he wants. Only one thing she wants is just to make him love her and won't leave her or even harm her again like he ever did to Riley.

One moment he can feel the tension building in his body, a heavy, enjoyable tightening in his belly and balls as he enjoys the friction of her throat and lips sliding along his cock, the next he cries out and is desperately gasping for air as waves of intense pleasure rip through him on hard electric surges of energy. His spine locks into a taut bow, slamming his head back into the headrest; his ass clenching and unclenching as he pumps his seed into her sucking mouth. His nerves burn with the crackling energy of his release. He closes his eyes. His hands tense on her head, but don't seem to hinder her in the least as her head continues to bob over his crotch. John hisses, shuddering and trying to marshal his breathing as his balls empty and her oral attentions begin to border on painful on his now over-sensitive shaft.

JOHN  
(pleading)  
Oh! Cameron. Please stop. That's enough.

Cameron finally drags her lips off him in a final searing burst of friction that has him panting after a heavy sigh of relief and he lets his hand drop from her head to lie limply at his side. She sweeps her hair back and out of her face with on hand. A shiver runs up his spine as she slowly sticks her tongue out.

CAMERON  
Did you like it?

JOHN'S POV.: He sees a pool of his semen on it as she daintily collects the last drop of liquid that wells up from the slit at the top of his dick and then swallows the whole lot with an audible gulp.

JOHN  
You enjoyed that?

CAMERON  
Yeah. I did.

She grins at him and then surprises him by quickly straddling his thighs and before he can do something pressed her lips to his.

He reacts, tilting his head and opening his mouth at the strong, insistent urging of her tongue. This moment is like when he was with Riley many years...Oh! Few years for him...ago. She kisses him very hungrily as if she was never a machine before.

Her naked female body presses against his, her sex, hot and moist, squirming against his once-again stiff cock does a lot to off set that, as his hands wind into wealth of dark curls as he kisses her back.

Cameron's hands clutch at the sides of his shirt when she breaks their kiss. He lifts his arms at her urging and she drags the shirt off over his head.

The second turn has started.

He cups her cheeks and pulls her lips back to his. Her breasts flatten against his chest, soft, warm firm pillows that surround the hard, hot embers of her nipples. Those hard pebbles drag along his skin as she rises up and reaching down between them, grasp the base of his cock to steady it and lowers herself, rocking her hips, sliding through her silken folds until he is seated at her entrance.

They separate slightly. Her eyes widen before fluttering close and her breath hitching as she slowly sinks down on him. He groans as her sex surrounds him with pressure and liquid heat, flow by electric, tingling friction as she slides down along his length. The happiness and enjoyment cross their faces as they have sex with each. Her tight sex clutch at his throbbing shaft, resisting his passage, seemingly trying to defy gravity and Cameron's will, but failing. John bucks his hips in a slow upward thrust, making that failure complete as she settles onto his lap and he settles back onto the seat with her completely impale on him. He draws in a long, shuddering breath as she makes tight little circles with her hips, her sex flexing in a velvet, rippling caress that makes the small of his back twitch with a wave of pleasure. This isn't just lust but it can be the real relation between them both. And she seems to be a good wife.

John cups her ass, cradling the firm globes that fit perfectly in his hands and squeezes, testing their resilience.

JOHN'S POV.: The pink tip of her tongue peeks out between her sexy lips and makes a slow circuit of them before she opens her eyes. Beneath her eyes, nothing machinery is in there.

Cameron runs her hands along his ribs and then her fingers are testing the hard planes of his chest muscles before slide up to curl around his neck.

CAMERON  
(moaning)  
That's so good, John. Don't stop.

JOHN  
Okay, Cam.

He swallows hard in answer as she rocks her hips a few times before she rises. He gasps as she plunges down on him with a little twisting motion and then starts to ride him in earnest.

She looks more human and completely becomes a human without flaw. Her sex is a molten, velvet death grip that squeezes and twists with delectable pleasure as it slides along the skin of his shaft, testing his hardness.

Their breathings become heavy and heavier, and quickens and they both make strained sounds, hisses, groans, moans and grunts of enjoyment. She catches him off guard when she crushes her lips to his with near-bruising force, sucking, nipping and licking with urgent hunger, her fingers winding in his hair, pushing a puling as he shifts his head to accommodate her passionate kiss. He kneads her ass more firmly and can feel her lips vibrate against his when she moans as she grinds her clitoris into his pubes at the same time.

She breaks the kiss and frowns.

CAMERON  
(moaning)  
Arhh! That's good. I also want my breasts  
kissed and my nipples sucked. Please do it.

And John leans forward to capture the upturned, dusky pink tube of her nipple. Her hand tightens in his hair, pressing his lips more firmly to her breasts as he sucks in a mouthful of her tit flesh while his tongue lavishes attention on her nipple.

CAMERON  
(softly)  
It's okay. It's good, John.

Cameron feels exquisite as she rises and falls on his dick and he shifts from one of her breasts to her other. Her hard, smooth belly slides against his as an added stimulus as he fondles her ass. She lets out soft panted sounds, part way between a moan and a cry every time she plunges down on him. It means a lot to him and sounds so erotic.

Her flesh flexes and twists around his as she grinds down on him with a drawn out shuddering sigh that mingles with his loud groan as his hips buck in response. They continue to move in unison and he soon can feel the tension in his balls return. He is aware of the build up this time as he processes everything they do to cause it.

John finally has to abandon her breasts as he needs his mouth to drag in air.

JOHN'S POV.: With, his head has raised, he can see Cameron's face again. Her features are surrounded by the rising and falling halo of her dark hair.

Her straight white teeth pin back her full lower lip. Her fingers clutch at his shoulders, testing the muscles underneath.

They both almost finish it but they are trying to keep this paradise as long as they can do for each other. He clutches at her hips, trying to keep her still as he reaches the limit of his control. She stills, but her sex continues to flutter around him, a firm massage that he can't deny. Her head, which has been thrown back, lifts and her eyes lock with his. She leans her head forward. This moment of paradise isn't long and isn't boring too. They both pant and cry out loudly as they nearly reach their climaxes. He shudders as his muscles misfire in rapid succession as his nerves song with the joy of release. Her head drops onto his shoulder, her hair tickling the skin of his neck and her breasts flatten against his chest as it rises against it as he gulps in air.

His spine tingles as it locks with sweet tension and his hips continue to jerk even after his balls has emptied. He runs his hands up her back, feeling muscles shift under her silky smooth skin through a light layer of sweat. He becomes aware of the sweat on his own skin as they slide across his skin in little rivulets and droplet, which are starting to cool.

John takes a deep, shuddering breath, feeling his chest expand against the firm flesh of her breasts, her nipples pressing slightly into his skin before she lifts her head and creates some separation between them. Her head titles slightly to the side and then she grins at him.

CAMERON  
(softly)  
That was very good, John.

She hands him his shirt and she sinuously slips back into her dress and bras. The front of his boxers are damp with their juices, but he tucks his now limp cock away and tugs his jeans back into place. He puts his shirt back on and does up his pants and buckles his belt. By the time he has himself more or less presentable she is sitting quietly beside him looking out at the late morning sky. She doesn't have a hair out of place.

Cameron turns to face him.

CAMERON  
We should go back home, John.

Cameron grabs her jacket and wears it. John turns the key in the ignition and the engine roars into life.

He puts the truck in reverse and backs it in a turn until he is facing the road. He puts the truck into gear, but pauses for a moment, looking over at Cameron. Wind ruffles her hair through the open window as she looks passively straight ahead. John smiles happily, this is somewhat familiar to him. She has her nature to be like this, her cyborg form and now her human form, they're all her characteristics he likes.

Cameron turns and sees his smile.

CAMERON  
What?

John smirks.

JOHN  
Nothing. I just feel...er...today,  
you are so beautiful. Very beautiful.

Cameron blushes and turns away from him, looking straight ahead.

CAMERON  
JOHN!

John quickly turns and...

JOHN'S POV. THROUGH WINDSHIELD: A MAN stands in the middle of the road.

John HITS the brakes. Not fast enough - THEY CRASH INTO THE MAN.

His body goes up and over the truck, rolling off the top of the back, hitting the ground behind them.

John YANKS THE WHEEL, sending the truck into a tailspin across the road. It comes to a SCREECHING HALT.

Everything goes silent. John turns to Cameron.

JOHN  
Are you okay?

CAMERON  
Hopefully, that man isn't a human. Oh! God.

John reaches for his plasma rifle under his seat. Opens the door.

JOHN  
Stay here, okay?

John hops out of the truck. Leaving Cameron alone. She turns to look out her side window, looking at the man. And John is running toward him.

EXT. ROAD – CONTINUOUS

John races across the road, where the MAN lies. Still.

JOHN  
Hey! Are you okay?

John still keeps his direction away from the man. And he steps back a few steps.

INT. TRUCK – CONTINUOUS

Cameron sighs and gets out of the truck, staying at the open door, looking at John and shouting.

CAMERON  
Is he okay, John?

EXT. ROAD – CONTINUOUS

John squints at the man and turns back to Cameron.

JOHN  
I don't...

FLASH CUT TO:

THE T-950'S H.U.D. WITH CLOSED EYELIDS but it can hear and get recognition of every voice getting into its ears and also hear the voice of John Connor...

JOHN (O.S.)(cont'd)  
...know, Cam.

THE T-950'S H.U.D. compares the voice it got and then the result shows: "Voice Match: John Connor" Mission override: "TERMINATE".

CUT TO:

E.C.U. THE MAN;

JOHN (O.S.)  
Maybe he's...

The man's eyes open with a red glow beneath his eyes.

JOHN (O.S.) (cont'd)  
...still alive.

John, he looks back at Cameron.

JOHN  
We should help him anyway.

Cameron sees something. She quickly starts running toward John and shouts:

CAMERON  
JOHN! METAL!

John realizes and turns to see a man who has completely risen, turns on a switchblade in a flash and stabs it at John who evades and that man misses John's heart...But still can get his left shoulder, causing him to fall with a small cut on his shoulder. And his plasma rifle falls to the ground near the man.

The man wants to grab the gun but Cameron is faster, she runs fast, jumps and kicks the man by one foot right at his chest, pushing him out of the way near John and getting herself between the man and John.

CAMERON  
Skynet?

JOHN  
Skynet is no more. This one might just want  
to do what he was programmed to do. I think  
we can reprogram him easily.

THE MAN is rising slowly. And now we can see the man more clearly. He's a Caucasian of about 20s, 5'6" tall like Cameron, has black hair and black hair. And this one is a T-950.

CAMERON  
We have much time to do so. And maybe we can  
learn a lot from this one. But how we can  
capture him for that.

The man completely rises. Both John and Cameron face him as he starts rushing toward them.

JOHN  
Maybe stop him first.

John quickly evades as the man punches at him. Cameron steps her left foot back a bit, spins and kicks him away. She then bends down, grabs the rifle and aims at him.

The man rises and Cameron fires at his elbows, his knees and his other important movement parts, causing him to fall again and can't even move. And very sure, his skins around his wounds are repairing themselves like other T-950s.

CAMERON  
He's so stupid.

JOHN  
Yeah, I think.

Cameron and John both then move toward the man. The man looks up and is threatening.

JOHN  
You could kill my mother, Sarah Connor, you could  
kill my father, Kyle Reese. But you know what?  
You can't kill me and my wife. Your master too.  
He's dead. Power off. Deleted. Whatsoever.

CAMERON  
You can't kill us now. Tell us what you think  
or we'll reprogram you and make you tell us.

THE MAN  
It's not over, John Connor. Cameron Connor.

The man starts to laugh, crazy. He picks out a remote control which looks like a bomb detonator. And pushes on the red button.

THE MAN  
(happily)  
We'll be back.  
(Skynet's voice)  
I'll be back.

The man is laughing. John and Cameron glance and see a red light at his chest.

JOHN  
Damn it!

John and Cameron both quickly run toward the truck. Cameron gets in the driver seat and she...

INT. TRUCK – CONTINUOUS

...starts the truck and drives out as fast as the truck can.

EXT. ROAD – CONTINUOUS

The truck quickly roars forward like hell. And the man explodes into a hydrogen fuel cell explosion.

THE NON-NUCLEAR MUSHROOM CLOUD FILLING FRAME...

DISSOLVE TO:

INT. GARAGE – DAY

E. Boykins and Allison just as we left them. Tears are streaming down her face.

E. BOYKINS  
You are so valuable to me, Allison.

ALLISON  
(crying)  
My mom died because of me, my father almost  
died because of me, you become a cripple  
because of me. I'm a kiss of death.

Allison turns away from him.

ALLISON  
(crying)  
My family has become like this because of me.

E. BOYKINS  
No one blames you. Me too.

Allison just rests her head onto her croggy. E. Boykins is about to reach his hand to console her but he takes it back and looks down at his legs. Allison tries to stop her sadness but it's too much, it never was like this before. Maybe E. Boykins' cripple effects her mind to be like this or maybe her temperamental pregnancy has done it.

E. Boykins sighs and turns back.

E. BOYKINS  
Maybe I should leave you alone with your  
loved bicycle. Maybe let you fix it alone.

Allison realizes something from his speech.

FLASH ON:

Claire suddenly wraps her arms around Allison, lifts her up.

CLAIRE (cont'd)  
I'm sorry for lying to you.

Allison notices that, she quickly pounds on her mother, trying to get out of her embrace.

YOUNGER ALLISON  
Let me go, mom. She's there. I have to fix her.

FLASH ON:

Claire quickly rushes toward Allison at the same time someone out there pounds on the wall nearby Allison. Claire wraps her arms around Allison and throws her toward Reese brothers. The wall is broken, a T-500 gets in and aims its machinery gun at Claire's chest. Claire loses her mind. With her own fear, she can't move. The robot quickly blasts her chest.

BACK TO PRESENT

Allison's fear is up as her sadness is down a bit. She quickly leaves her chair and her bicycle and she rushes toward him, hugs him before he could leave her. Surprising him, she hugs him as firmly as she hugs her own mom or her own dad. With love and fear of the event ever happened to her mom when she chose her bike, not the person she should love. Guilt and contrition make her remember it, she doesn't want it to happen to him.

ALLISON  
(crying)  
Please stay here. Don't go.

E. Boykins looks a bit confused but smiles. His hand slowly rises and fondles the back of her head, touches her hair and kisses on her shoulder and then her hair.

E. BOYKINS  
Okay, Alise. I won't go.

ALLISON  
(crying)  
Live here. I don't want to see anyone die  
because of me again. I don't want it again.

E. Boykins exhales, gropes on her hair, consoling her.

E. BOYKINS  
I'll be here. Fix your bike. It's okay.  
It'll be okay. It's gonna be okay.

ALLISON  
Swear?

E. BOYKINS  
I swear.

They separate. E. Boykins touches her face, wipes some tears. She smiles and relaxes. E. Boykins sweeps her hair back and out of her face by his hand.

E. BOYKINS  
See this. You are not beautiful as you were.  
See it, Allison. Sadness never improve anyone.

Allison smiles and wipes some tears herself. She looks better. The sadness is no longer in her mind and he could kill it. Only he can do it.

ALLISON  
I understand. Thank you.

E. BOYKINS  
Finish it, Alise. And maybe we can ride it  
after you give birth to our daughter.

ALLISON  
Yes. And thank again.

E. BOYKINS  
Never mind, sweetie. I'm happy when you are happy.  
If you aren't, I won't be. I can't see you be sad.

Allison looks at his legs and shrugs. She then looks up and looks in his eyes.

E. BOYKINS  
Don't worry about them. You didn't cripple them.  
One who did, now is in a grave and no one will  
worship him even the machines. He's dead.

ALLISON  
You always strengthen me. But I...

E. Boykins shakes his head.

E. BOYKINS (cont'd)  
No, Alise. You strengthen me too. You always have.  
You are my power. You are the only one I live for.  
You, our son and this baby inside of you are all  
I have and all I have to protect, need to protect  
and want to live with.

ALLISON  
You never thought of yourself. You always  
help people. You are selfish like many  
men are, Stefan.

E. BOYKINS  
I'm a selfish, Alise. If I ain't, can you  
explain to me why I want to be your husband,  
why I got you from Nick, why I destroy the  
relation between you and Nick Corbin?

Allison can't answer. But she just thinks about it. E. Boykins looks at her and smiles.

E. BOYKINS  
Forget it, Alise. Just always remember that every  
human is selfish. No one isn't. They all just act.

Allison considers that.

ALLISON  
Yeah. I think so.

Allison giggles.

ALLISON (cont'd)  
But you know that if we humans couldn't leave  
selfishness behind, we wouldn't be like this.

E. BOYKINS  
Yeah. I see the truth.

E. Boykins turns and rolls toward the bike. Allison walks with him and she now looks happy like she was never sad.

E. BOYKINS (cont'd)  
Maybe this bike needs something new.

ALLISON  
The gearwheel needs to be changed. Maybe I can go  
and find it tomorrow. Can you stay here tomorrow?

E. BOYKINS  
Oh! No. I will. You stay. Don't forget. You're pregnant.

Allison lowers her head in fake sadness like a kid.

ALLISON  
Okay, babe.

E. BOYKINS  
Let's see the rest parts.

E. Boykins smiles and looks around the bike, checking it like an engineer who is professional for it.

**END OF ACT 2**

* * *

**ACT 3**

**(The Unknown Utopia)**

INT. TRUCK – DAY

John and Cameron are in their truck not far from their house. Now Cameron is on the driver seat and John is on the seat next to her, Cameron just finished bandaging his shoulder. John just looks as she binds the bandage firmly.

CAMERON  
Okay. I finish it.

JOHN  
Thank you, Cam.

Cameron closes the first-aid kit box.

CAMERON (cont'd)  
It's lucky we have our bandage, alcohol,  
antibiotic and tampon enough to clean it.

JOHN  
Yeah, if not, I would die.

CAMERON  
Don't say about death again, John.  
I don't want to see you die again.

John looks at her and sees her sad. She's really sad with few tears which flow from her eyes. John cups her chin, lifts her face up to look at him.

JOHN  
It won't happen, my love.

CAMERON  
I don't know how to get you back, John. If you die,  
I can't be alive. Live with suffering is what no  
girl wants. I don't want to be a widow.

John turns away.

JOHN  
Just that.

CAMERON  
No. John.

Cameron turns John's face to face her.

CAMERON (cont'd)  
No. Not just that. John. I love you.

John smiles, looks better. Like he just got a new power for his life. His smile is wider and widened. Cameron smiles back, her emotion is all love. She won't betray him as Delilah cut off Samson's hair. Cameron gropes his hair like Sarah ever did but John's mind can tell that it's different. John grabs that hand in his and looks in her eyes.

JOHN  
I love you too, Cam. I came across time for you.  
And you know what? You startled me out of my  
mind when you had gone through that bubble with  
John Henry. It was like I was gonna be killed.

CAMERON  
I'm sorry. You know that if I saved him, Catherine  
would become your alliance. And this is the result  
after all, John. We win Skynet.

"We win Skynet", this a bit effects John's mind. He releases her hands and remembers what that cyborg had said just before it self-destructed itself.

Cameron looks at him, worries him.

CAMERON  
What's wrong, John?

JOHN  
You heard the cyborg.

CAMERON  
Yes, I did. But you know that we already destroyed it.  
John Henry confirmed it. Our soldiers had checked the  
core installation for months. Skynet is no more.

John thinks about it and he relaxes. Smiles. Relieved.

JOHN  
Okay, Cam. Let's go home.

CAMERON  
Yeah. Go home.

Cameron keeps the kit box inside a case, starts the gear and drives the truck.

EXT. SERRANO POINT NUCLEAR POWER PLANT – DAY

The Serrano Point looks a bit like in the present day, only the technologies are upgraded. This place now isn't military base as in the war against machines. The whole plant are modified to be a research center.

INT. SERRANO PASSAGEWAY – DAY

DR. ART-ONG JUMSAI NA AYUDHAYA and OLIVER WEAVER are walking in the empty passageway. There are sounds of factory working in b.g.

DR. ART-ONG  
So I have to meet him again.

OLIVER  
Yes, doctor.

DR. ART-ONG  
Your president doesn't trust me.

OLIVER  
It'd been a long time before we found you in  
the cell of Skynet, doctor. They don't trust  
you as well as they don't trust other secret  
prisons from those cells.

They reach the secured door and stop.

OLIVER (cont'd)  
And you don't have tattoo.

DR. ART-ONG  
Which tattoo?

OLIVER  
Tattoo like this, doctor.

Oliver reaches his left arm, rolls up shirtsleeve and slowly displays a Skynet barcode tattoo...but it has no number and it's not the real, it's MORPHED from his liquid metal mass around his own arm. Dr. Art-ong looks at it. He seems a bit surprised.

OLIVER  
I'm a metal.

DR. ART-ONG  
That's good to know. You are Mimetic Poly Alloy.  
And you are working with your quantum neural  
network cell processors. Very intelligent.

Oliver smirks.

OLIVER  
Yeah. That's right, doctor. 1001 series.

DR. ART-ONG  
This world has many things I still don't know.  
Maybe you can help me. Teach me about the new.

OLIVER  
World changes fast. At this point, I may be  
immortal but perhaps, in the future I'll be  
killed by someone someday.

DR. ART-ONG  
I hope Oliver terminator won't be humans.

Then they both laugh like they're best friends. Oliver steps closer the door. Oliver presses on the keyhole. A small laser light shoots out of the keyhole and scans his eyeball. Oliver's eyes quickly change to be which are matched. One eye is purple and another is orange. Oliver gets pass the security system.

OLIVER  
Get inside. He's waiting.

Oliver opens the door and they enter.

INT. BIG SECURED ROOM – DAY

EMILY positions chairs in her auditory room, converted from a large room, and serving as a hub of the group associated with John Henry and Lucy Ann. DONALD stands beside her. A group of seven Serrano Point engineers are in this room including T-KAPLAN T-CHARLEY DIXON and T-MICHELLE DIXON. T-Charley exchanges a few words with T-Michelle and T-Michelle NODS and motions with her hand toward unoccupied chairs.

The silent room is now alive with low ambient sound of quiet conversations, and an occasional screech of a chair being moved with its occupant.

The room quiets down again as soon as JOHN HENRY's and EMMA HENRY aka "LUCY ANN"'s motion pictures walk from the high tech wall, heading toward the chairs behind a small table, facing the rest of the room, functioning as an impromptu lectern.

JOHN HENRY  
Good morning. I'm glad to be with you again.  
I see some new faces. Please feel welcomed  
in our study group. We begin, as always, with  
a reminder and a blessing.

John Henry pauses for a few seconds.

LUCY ANN  
We are here to talk about what we're gonna face  
in the near future. The cold war between us and  
those bad machines. They're gonna raise again.

JOHN HENRY  
We found many exhibits about the back-up forces  
on other planets in this solar system. The war  
seem not to be ended as easily as we thought.

Two pairs of eyes, those of T-Charley and T-Michelle, meet with a puzzled expression. John Henry notices and a hint of smile appears on his face.

JOHN HENRY  
But don't worry about it. Skynet weapons on those  
planets aren't like the old in here we just  
destroyed. We can send our force to battle them.

LUCY ANN  
Only machines can join this war.

JOHN HENRY  
Do all of you want to join us?

John Henry pauses and turns his head in a sweep motion to maintain an eye contact with the participants.

JOHN HENRY  
We don't have another choice. We have to destroy  
them all by most of machines we have. I don't care  
about those reprogrammed. They can serve us as well.

Oliver and Dr. Art-ong enter this big room. John Henry's and Lucy Ann's images look up at them, John Henry indicates Dr. Art-ong with his pride.

JOHN HENRY  
And that is Dr. Art-ong Jumsai Na Ayudhaya.  
The scientist and engineer who could help  
NASA landing on Mars many years ago.

Eyes look at Dr. Art-ong.

DR. ART-ONG  
I'm so proud to be here, everybody.

The room becomes alive with whispers. Dr. Art-ong seems to be blushing as the focus of the attention is concentrating on him.

JOHN HENRY  
Attention, please. Attention.

Those people turn back to John Henry's and Lucy Ann's images.

JOHN HENRY  
Our spaceships will be ready in few years if you all  
agree to help. This isn't for humanity, brothers.  
But it's for our future too.

They all flash electric blue eyes. John Henry seems to be happy with that.

JOHN HENRY  
Okay. You chose it. Thank you.

John Henry disappears. Lucy Ann is still there. She looks at Dr. Art-ong and gives him a small smile.

LUCY ANN  
Good luck to you, doctor.

DR. ART-ONG  
Thank you, Ma'am.

Lucy Ann leaves.

FOCUS ON DR. ART-ONG'S EYES: They look intense with the power in his mind, the scientist mind. He smiles proudly.

DR. ART-ONG  
I won't disappoint you.

FLASH CUT TO:

EXT. SPACE - NIGHT

THE SPACESHIPS which have Zeira logos on them, fly through us. They head toward the Mars weird spaceship armada waiting for them. The unknown enemy Alien-like spaceships quickly fire big plasma-like rounds at us by their weird cannons. We are between the space battle between machines and Zeira soldier ships.

SUPERIMPOSE: "MARS, 2080"

A Zeira spaceship slips right under the enemy vanguard ship and ducks and weaves between dozens more. The Zeira force hits the machines head on - and several ships do just that, smashing into bigger ships kamikaze-style, everything exploding –

The fleet mobilizes, blasting Zeira ships, circling around, and an air war begins, a frenzied, balletic ecstasy of destruction that the camera hurtles through as ships and parts of ships fly at and past it.

ANGLE AN OLD ZEIRA SHIP WE EVER TRACKED:

It nearly makes it all the way through the machine fleet before a barrelling chunk of debris - which is twice their size - forces them to come hard about and remain in the fray.

FULL SHOT

Few Zeira spaceships fly through and make their way past the carnage and heads down toward the tiny satellite moon. Another four move through and go directly toward two real moons- Phobos and Deimos. The battle is still raging in b.g.

EXT. RED LAND – DAY

-landing on A VAST PLAIN. This place isn't on the Earth. The landscape and sky look red. Atmosphere is like when it rains but really it doesn't. The hilltops have no tree. The air looks stable. No city, no skull and trash piles. Peaceful and quiet.

WE PAN around to see the whole vast plain. It's peaceful until we see the figure moving.

CLOSE ON and reveals it: A wounded man is walking on mars' surface. He approaches a LARGE ROCK FORMATION which blocks his path. We can see a metal endoskeleton inside him but we can't be sure what he is. Hybrid or cyborg?

He lifts the large rock with his hands and throws it toward the way he left. A MASSIVE PLASMA SHOT destroys it in the air. He quickly runs out of the way.

We are still here to see what is gonna happen.

A few seconds later, a machine wheels over there, the way the stone was destroyed. This looks a bit like an Ogre but it's smaller and more advanced. We'll call it "ARES". The gun swings around to hunt.

ARES' H.U.D.: The head-up display looks very wonderful. It sees the guy running across the martian plain. It can scan him from this area so fast. Gets data as a human with adamantium endoskeleton and special eugenic skin. Mission: "TERMINATE".

THE ARES, blasts a MASSIVE PLASMA ROUND FORWARD.

The round goes almost over the head of that guy in angle but it really blows up the guy. The skin disappears and the endoskeleton falls on the ground. Dead.

But the victory hasn't been at the Ares for a long time. A few seconds later, three plasma shots attack and places the big three dots wounded on the Ares.

Four weird planes fly through and the Ares then explodes in a big fiery explosion.

WE TRACK AFTER A PLANE as it flies in the air toward the battlefield on Mars.

The gun fires and plasma-blasts go crazy everywhere. The plane greets the big HK-VTOLS and exchanges fire. The below is ruined robot city. Machines are fighting against machines. All humans around here are hybrids with adamantium endoskeletons.

The war in hell can't find the winner. The spaceships come and join and battle against machines below. Plasma rounds and missiles firing around.

The cannon blasts and then...

THE NON NUCLEAR MUSHROOM CLOUD of a massive explosion forms in the center of the large battlefield.

We focus on the new coming spaceship as it hovers and blasts rounds toward the below enemy army.

INT. SPACESHIP – BRIDGE – DAY

The bridge is small: two pilot seats on either side, and a tangle of wires and machinery all about.

Oliver Weaver enters the bridge. Donald and Emily are driving the spaceship. They all look exactly same as in 2030.

OLIVER  
When will we reach the facility?

DONALD  
Three. Two. One.

OLIVER  
I guess. Minutes.

EMILY  
No. Seconds.

The ship bucks-

EXT. LANDING STRIP – CONTINUING

We can see it, a long strip, which halfway along becomes a kind of hanger. The spaceship arcs at it uncomfortably fast.

INT. BRIDGE - CONTINUING

Emily and Donald are fighting the stick with extreme concentration as Oliver stands watching, so calmly.

EXT./INT. LANDING STRIP/HANGER - CONTINUING

And the ship HITS the ground - the landing gear folds and snaps under the weight - the ship keeps going, now inside the hanger, heading towards the entrance to the facility, slowing, fishtailing and coming about a full one eighty - it goes beyond the strip and crashes down into the pedestrian area, so that the nose is sticking back out at the runway but the body of the ship is hidden from it.

INT. BRIDGE - CONTINUING

There is a moment of quiet.

DONALD  
I am good at it. Watch -

A massive harpoon CRASHES through the windshield and impales him to his chair. It's as thick around as a telephone pole.

EMILY  
DONALD!

Almost forgot what he is, Emily relaxes after Donald silvers himself, flows and then morphs to be a human figure near his seat, standing next to it. And becomes Donald again.

DONALD  
They didn't learn anything.

OLIVER  
Let's go.

EXT. LANDING STRIP – CONTINUOUS

We see the ship that has fired the harpoons as unknown armored terminators look like T-950, start out of it. A second enemy vessel enters frame from above, about to land next to it.

EXT. SPACESHIP – MOMENTS LATER

The door opens- just the little door housed inside the ramp- and Donald comes out with his big plasma term cannon. He looks up, toward the edge of the runway, but no other machines have arrived yet.

DONALD  
Go!

The entire crew piles out, all heavily bedecked with weapons.

OLIVER  
Head inside!

INT. BLACK ROOM/INNER HALL - FACILITY – DAY

A small double-sized doorway leads to the "Black room", which is the entrance proper to the facility.

Donald hits a button and huge, thick, blast doors open from the sides AND the top and bottom, creating the effect of a square hole getting bigger. The hall itself is smaller than the black room, but still has the arrows on the ceiling, that point to an elevator some sixty feet away.

DONALD  
Let's go. Get it and go back to the world.

The trio and their followers walk toward the elevator.

INT. FACILITY HQ – MOMENTS LATER

The elevator stops and they make their way to the island of screens and machines in the center of the Mars.

They explore around in the HQ, looking for whatever they want.

ANGLE ON A BLOWN DOOR.

OLIVER (O.S.)  
This way.

ZOOM OUT and Oliver walks into the room.

INT. LABORATORY - FACILITY – DAY

OLIVER AND HIS TEAM walk toward the center of the lab and we can see everything in this lab now.

It looks like a kind of NASA small laboratory we always saw in many movies. And it's like in we saw in many animation/manga, we see the dense capsules arranged in row along nearby the wall with the number and model of ten unknown model terminators. All capsules are open. Blood on the texts which say the models, only one big capsule can say it: "T-2000".

ON THE MONITORS above the long row of chambers- colorful 3-D IMAGES of the new model structure including physical research simulation, common combat simulation and molecule structure. They all look like some kind of high technology things in the world of chemistry and nanotechnology physics. These things are unlike the old MPA we know. The metal cell molecule 3D programming IDE and the secret of new kind MPA. Oliver looks around. Surprise across his face.

OLIVER  
T-2000. Like the reprogrammed metal ever  
said. It's a sentient frequency matter.

DONALD  
Trillions of molecular engineered particles which  
can take on any physical form. Interesting.

EMILY  
That would make it ineffective in battle. It can't  
be destroyed by us or even any weapons. Now it's  
out there and it becomes very very big problem.

A man looks around and as he looks down under the capsule of a T-2000, he sees hydrogen fuel cells look like in the avatar body.

MAN  
(indicates cells)  
Everyone looks there.

Everyone looks at the cells right there. Too late...And they explode. INSERT OUR FRAME WITH FLAME.

EXT. THE FACILITY – DAY

The whole facility explodes in a NUCLEAR-LIKE EXPLOSION. The atomic cloud rises to the red sky. The facility is over.

CLOSE ON A HILLTOP ONE KILOMETER AWAY FROM THE FACILITY:

We see a man of about 30s standing and watching the explosion. He looks very handsome and his hair is red. He's 5'6" tall and looks very strong.

FOCUS ON THE MAN as he smiles proudly.

FADE TO:

INT. PICHITCHAIS' BEDROOM – NIGHT

Back to 2030 again; Allison is helping E. Boykins moving from his wheelchair onto the bed. Both look happy.

E. BOYKINS  
Maybe we should sleep together. Just one night.

ALLISON  
You know I can't. Sam still needs some milk.

E. BOYKINS  
Oh! Allison. You are not a soldier anymore.  
You need time for real sleep. Let Nevlin brew  
or bring cow milk to Sam. Our daughter can be  
very weak if you sleep unlike pregnant girl.

Allison puts his legs in easy sleep manner and gives him a small smile as he looks like he doesn't want her to be tired.

ALLISON  
Don't worry. I'll be okay.

E. BOYKINS  
Allison, you need real sleep.

Allison looks in his eyes, senses his care. Allison just pauses.

E. BOYKINS  
Please, Alise. You really need a real sleep.

ALLISON  
Okay. Stefan. I'll be with you.

Allison moves closer him and gently places a kiss on his forehead.

ALLISON  
I'll be back. Just awhile.

Allison reaches for his blanket.

E. BOYKINS (cont'd)  
Really?

ALLISON  
Yeah. Really.

Allison blankets him and kisses on his cheek.

ALLISON  
Just awhile.

Allison slowly and carefully rises from the bed and walks off. E. Boykins always looks after her with worry.

**END OF ACT 3**

* * *

**ACT 4**

**(Rise of The T-2000)**

EXT. GRAVEYARD – DAY

We are closing on a gravestone. It is rounded, looks more like a bell than a headstone. It is topped by a jar built "into the stone. The jar is weathered tin at top and bottom, but glass in the middle. Inside the glass we can see one of those slightly moving photos. It is of 20-year-old John Connor and 18-year-old Cameron Connor, and the names Mr. John Connor and Mrs. Cameron Connor are carved roughly in the stone beneath.

CAMERON (V.O.)  
Different time always makes things different.

The camera moves to the right and we see another such stone, this one bearing the image and inscription: Mr. Warapop Pichitchai aka "Enigma E. Boykins" and Mrs. Allison Pichitchai.

CAMERON (V.O.) (cont'd)  
Even no one moves or touches them.

The third is very weird: it's Mr. Kyle Reese and Mrs. Sarah Reese. Their photos say that they were taken in 2030. And at that time Sarah looks about 10 years older than Kyle Reese.

CAMERON (V.O.) (cont'd)  
They'll be changed anyway. Nothing stops.

The forth is Mr. Sittipong Pichitchai and Mrs. Kitty Pichitchai.

CAMERON (V.O.) (cont'd)  
We grow up. We age. We die. Everything happens  
because of the change of this forth dimension.

The camera continues moving right, but the next stone houses a small home-made rocket with pieces of paper taped to it instead of a picture-jar. And fixing another slip of paper to it is STEFAN JR.(20s, like E. Boykins)

CAMERON (V.O.) (cont'd)  
This is the truth which will happen in every age.

He moves away from the stone as the CONNOR HEIR(male, looks like John but has only brown eyes, about 40s) does likewise. They're flanked by the big family: CONNOR WOMAN(50s, looks like Cameron), MAGGIE MOON(older than Maggie Moon in 2064, 20s), NEVLIN GLAU(never age) and other ten persons we will or won't know soon. The Connor woman moves to a man who is at same year. Stefan Jr. and Maggie Moon hand in hand. Maggie's finger has engagement ring same as Stefan's. Maggie looks at Stefan Jr. with a faint smile.

MAGGIE MOON  
Are you okay, sweetie?

Stefan Jr. looks really sad. Maggie turns away and looks at the gravestones.

MAGGIE MOON  
Everyone has to die, Stefan. It's what happens.

STEFAN JR.  
I know. They have their long stories. At this  
point, who will remember them, excepting us.

MAGGIE MOON  
Many people die because of war, Stefan.  
Are you sure you wanna change it?

STEFAN JR.  
They always tell me. Que sera sera. Whatever  
or whatsoever will be, will be. They said so  
even they already had a TDE they built.

There is a moment, then the Connor heirs and few people move aside, saying nothing. Nevlin and the rest persons step closer Maggie and Stefan Jr. Those persons, one is a woman who looks a bit like Sarah Connor and another is a common American. They both are couple.

STEFAN JR.  
They never tried to change anything.

MAGGIE MOON  
What if we change it ourselves?

STEFAN JR.  
The T-2000 will know the location of the TDE.  
It's better to leave them and let it happens.

NEVLIN  
No one wants it happen, Stefan. Humans are  
gonna extinct. We can change it as well.

Everyone turns to look at Nevlin.

MAGGIE MOON  
How can we do that, Glau? We don't have the Weavers.  
We don't have leader. We're just running and running.  
You know it as well. We can't fight those zombies.

NEVLIN  
We have last chance. We now have the last psychic.

Stefan Jr. sighs and shakes his head as they look at him.

NEVLIN  
We don't have much time. We have to...

STEFAN JR.  
Okay. I'll do it. Where is the TDE?

Nevlin smiles and walks off. Everyone looks after him.

EXT. DESERT - NIGHT

A light illuminating the valley beyond. As we move closer, we see the glow comes from -

A MASSIVE HUMAN BASE

Now set up around the crater - vehicles, trailers, barricades. Armed GUARDS man a gate in the razor wire fence that runs fifty yards from the crater's edge, enclosing the complex.

Clear, plastic access tubes with junction boxes lead to a translucent cube structure erected in the middle of the crater. Through the glass walls of the base's command trailer, we see CONNOR HEIR directing TECHNICIANS, busy at work.

Within the cube structure itself, a team of SCIENTISTS work with high-tech machinery, analyzing the chamber of new version TDE.

INT. BASE – NIGHT

Nevlin with Stefan Jr. and Maggie Moon walk through the passageway toward the platform. Stefan Jr. and Maggie Moon wear buck and Maggie hold a small fell bag.

NEVLIN  
We already upgraded it. Only few hundred people  
survive now. We don't have another choice. Only  
you both can do it right.

STEFAN JR.  
What about you, uncle?

NEVLIN  
It's my honor to fight against enemies with last  
group of humans and good machines. My honor to be  
the friend of the chronicles.

They stop. Stefan Jr. looks at Nevlin. His look shows sadness. His heartbeat goes faster. He doesn't want to leave this cyborg but he has to.

STEFAN JR.  
You can go through. I know.

NEVLIN  
I'm but an old model cyborg. I'm but a reprogrammed.  
I can't be trusted. I can't help you anymore.

Stefan Jr. and Nevlin lock eyes. Like they're family. Stefan Jr. has his tears streaming through his cheeks. They are more than friends, but the uncle and the nephew.

STEFAN JR.  
Then who will read me bedtime stories?

Nevlin smiles, reaches toward Stefan Jr's face. His metal finger touches the tear trickling down his cheek.

NEVLIN  
I'm sorry. I know now why human life is so important,  
why only one man can be so important to the others,  
why we have to fight for one man. And I know why you  
all have tried to teach me about human lives.

STEFAN JR.  
Oh! My uncle.

Stefan Jr. quickly gets into Nevlin's hug, feels uncle-being behind this cyborg. Maggie Moon just looks at them, being proud. Nevlin hugs back slowly and warmly.

NEVLIN  
You're like your sister. I'm sorry for what  
happened. I really couldn't protect her when  
the T-2000 arrived on our Earth.

STEFAN JR.  
I'll miss you, Nevlin.

NEVLIN  
I will too.

They separate.

STEFAN JR.  
Okay. Good bye, uncle.

NEVLIN  
Good bye.

INT. NEW TDE CHAMBER – NIGHT

With the sounds of thunder, the rain starts out of the base. Humans and cyborgs are surrounding the chamber. Four are at controls, working with 4D calculation workshop. Nevlin is standing and watching with worry. Stefan Jr. and Maggie Moon get onto the chamber.

And then sirens blare. Stefan Jr. and Maggie turn around. Everyone here looks frightened.

STEFAN JR.  
(to Nevlin)  
What's wrong, Nevlin?

FOCUS ON NEVLIN as he looks to the passageway.

NEVLIN  
They're coming.

INT. BEDROOM - NIGHT

Back to 2030: Allison enters the bedroom, walks toward the bed and lies next to E. Boykins who is looking at the lamp near his side. Allison looks at him and calls him.

ALLISON  
Stefan.

No response.

ALLISON  
Earth to Stefan.

No response.

Allison bends over and gives E. Boykins a kiss on the cheek. E. Boykins' mind comes back from far far away place. He suddenly turns and smiles to her.

E. BOYKINS  
You are back.

ALLISON  
Yes. And what's wrong with you?  
Anything I has to worry about?

E. BOYKINS  
Nothing.

ALLISON  
You can't lie to me. We have been a couple for  
almost three years. Nothing you can hold back.

E. Boykins slides his hand up from his side toward her cheek, touches it gently. His smile on his face displays his happiness.

E. BOYKINS  
It won't be surprised if I tell you.

Allison grasps his hand and locks eyes.

ALLISON  
I'll know it soon.

E. BOYKINS  
And you have a surprise here.

E. Boykins has reached his hand down for her belly. He gently touches her belly and subtly glances at it.

E. BOYKINS (cont'd)  
Daughter is what I want. And this is daughter.  
Thanks to the ultrasound. Nevlin did it like  
he's real doctor. He's very valuable to us.

ALLISON  
Machines always do these duties better than humans.

E. BOYKINS  
That's not what I'm gonna say. He thinks like human.  
I hope that someday he can become a human like Cam.

Allison smiles, deep in thought.

E. BOYKINS  
Did I say anything wrong?

Allison smiles.

ALLISON  
No. Nothing.

E. BOYKINS  
I can't imagine how hard for me to see  
you with other men. Can you promise me  
that you'll only give me your heart?

Allison flushes up. It's not an easy question for somebody but not for her. She plays thinking to make him joking apart.

E. Boykins looks anxious.

Allison still plays impishly.

E. BOYKINS  
What's the answer?

Allison grins.

ALLISON  
Okay. I can.

E. Boykins is relieved. Allison laughs happily as she sees him relax like that.

ALLISON  
It was fun. You're stupid.

E. BOYKINS  
Only to you. I'm serious, Alise.  
I sacrifice everything for you.

ALLISON  
So do I. I know that some other women will leave  
if their husbands become cripple. But I haven't.  
I'm here to take care of you. Not just because  
of me who caused you crippled. But I love you.

E. BOYKINS  
Thank you for that, Allison.

E. Boykins leans closer her and kisses on her forehead together with smells it. He then looks in her eyes, almost sees her soul beneath them. Allison becomes a woman who will always surrenders to him every time, everything he wants or needs to do with her, he can do it without negative manner at this point.

E. BOYKINS (cont'd)  
You are still my teenage wife. In my mind,  
you never age, you still look same. My girl.

Allison's hand touches his cheek.

ALLISON  
Oh! My love. You are not older than me too.  
I read your diary. You wrote that I might  
leave you because we're different.

E. BOYKINS  
Yes. I wrote that. You're angel and I'm but a man.

ALLISON  
So I'll birth as human for you. Thank you too.

E. BOYKINS  
For what?

ALLISON  
My bike.

E. Boykins smiles and sweeps her hair out of her face. He cups her hair up and smells it. He looks proud.

E. BOYKINS  
My honor to do everything for you.

ALLISON  
Let me cuddle you, Stefan.

E. Boykins lowers his hand and nods. Allison wraps her arms around him, hugs him with love. They sleep together. Their lives and their minds belong together. This moment means a lot to E. Boykins. He seems enchant as his eyes slowly close, like a kid after hearing a lot of bedtime stories.

EXT. PORCH/THE CONNORS' BEDROOM – NIGHT

John stands looking the view of Palmdale. Cameron is asleep(or not)abed in their bedroom. John inhales and exhales, thinking about that cyborg.

A few seconds then John turns back and looks at Cameron abed inside the room. She sits up like a girl whom the mom or dad isn't with.

CAMERON  
John!

JOHN  
I'm here.

Cameron turns to look at him. She stands and walks toward him, hand in hand with him. And they look the view together.

CAMERON  
Why don't you sleep?

JOHN  
I'm just sleepless.

John looks at her. The wind ruffles her hair, makes her angelic.

JOHN (cont'd)  
I wish to know what it meant.

CAMERON  
You mean about that cyborg's words?

JOHN  
Yes. That tin-can said: It's not over, John Connor.  
Cameron Connor. We'll be back. I'll be back.

CAMERON  
Skynet isn't stupid but...wait...since when?

John is confused.

JOHN  
When what?

CAMERON  
When did you start worrying about it?

JOHN  
What should I be, Cam? That selfish  
John Connor in the past?

Cameron laughs happily. Looks like Allison's laughing.

CAMERON  
(cheerfully)  
You are not that selfish man. If you were,  
I wouldn't get married with you and let you  
get on top of me abed.

JOHN  
Cameron, I'm thinking I miss my mom.

CAMERON  
Catherine can build TDE but I don't know why she  
doesn't want to. Maybe she doesn't want you to...

JOHN  
Go back. She can't let anything bad happen to  
the time line she likes. I surely want it too.

Cameron looks a bit confused.

CAMERON  
Why?

John gives her a small smile.

JOHN  
I want to live here with you.

John surprises Cameron with a fast hug, carries her up onto his arms as she wraps her arms around his neck. She looks very like Bella when she was with Edword Cullen in Esme Island. John is like a hero in her mind, not just Edword but she can think that he's the best hero of the world. This deep eyes lock ends when he throws her onto the bed and jumps on top of her.

JOHN  
I'm so proud to be here with you.

CAMERON  
So am I.

They giggle. Cameron flashes a kiss upward his lips. They giggle again. John now seems to forget about what that cyborg said. She's all he interests in now. John bends down slowly as they both still lock their eyes, breathing faster. They slowly get into a deep passionate kiss.

They break the kiss, quickly strip off and kiss again. Cameron falls her back onto the bed again and at this time John feels so good to kiss her and only his underwear is between the cock and the entrance. Her fingers slide over his neck and then into his hair, her nails lightly scratching his scalp and his hips humped of their own volition, sliding his dick back and forth over the smooth curve of her hip, separates from her warm skin only by a thin layer of cotton.

Her hand in his hair urges his lips away from hers and downward. He nibbles lightly at her jaw and then lets his sucking lips and licking swirling tongue move lower, exploring the strong column of her beck and her throat. With, the heat, her skin feels warm as she undulates slowly, sinuously with long, draws out sighs as he continues to fondle her breast.

He sucks and runs his tongue across the pulse at the side of her neck. It matches the heartbeat he can feel under his hand perfectly.

He moves on, dipping his tongue into the hollow at the base of her throat before slithering down onto her chest. Cameron's other hand finds his when his lips find the upper slope of her breast after a leisurely exploration of her skin. She guides it away from her breast and he releases the firm globe reluctantly. As she guides his hand lower, he closes his eyes and indulges himself.

His lips blindly find her nipple and he nips lightly at the pert little tube before suckling hungrily at it and as much of her tit flesh he can fit into his mouth while his fingers slit between her silky folds, finding them hot, swollen, open and slickly moist. She lets out a soft gasp followed by a low moan as he slides two of his fingers into her and his thumb finds the hood of clitoris and works its way down with circling pressure to find the little bundle of nerves. Her sex flexes and twists around his digits as he saws them in and out of her tight confines, her legs shifting wider and then closing on his hand, with smooth, warm pressure before opening again.

JOHN  
Is tonight good for you?

CAMERON  
Yeah. It's good. Please do me favor.

Her fingers lightly caress his cheek as he suckles at first one teat and then the other feeling her other hand press against the back of his head while she shifts her shoulders to press her flesh into his hungry lips.

His dick twitches and throbs against her skin through the thin material of his underwear. He groans, his lips vibrating around her nipple as his ass clenches.

He lowers his head, extending his tongue and hesitantly running it slowly up the length of her slit. She draws in a sharp breath and her hips rise slightly, her fingers tightening in his hair. Her folds surround his tongue and he collects the dew off her petals. John starts lapping at her, running his tongue along her length, collecting every drop of her ambrosia. She groans, wriggling his tongue deeper in search of the source of the delicious, exquisite taste. Her guidance is subtle, but insistent as she adjusts his pace. She gasps as he dips into her entrance and her nectar floods onto his tongue.

Cameron starts to give him breathy, yet concise and precise instructions as she shudders under his lips and against his tongue. He follows them. He spreads her with his fingers to lick more directly at her sex and she moans her response, her smooth thighs press against his shoulders as her hips undulated. She lets out a little cry when he diddles her clitoris with his tongue, flicking the little pebble back and forth before rolling it and then sucking it and the hood behind it into his mouth. She cries out and then pants each time he sucks at her flesh or scrapes his teeth lightly along the ridge of her hood. His fingers delve into her while his mouth attends to her clit.

His dick throbs to the beat of his heart hammering against his ribcage, bobbing against his stomach and beating against the cotton prison of his underwear. Her tremors grow to a long, heavy shudder, her legs pressing hard against his shoulders and sides, her ass rising off the bed as she presses herself into his face. Her cry has a different timbre to it and it becomes a wail before ending in her panting heavily. The dark curls of her pubes tickle his nose and her channel clutches at his fingers while her juices flood around them.

He continues to lick and suck at her, collecting her sweet.

CAMERON  
I need the real sex, John.

She shifts up to recline on her elbows, her hair flowing out behind her head, chocolate against the white linen cover of the pillow behind her.

CAMERON (cont'd)  
We can have sex now.

Leaning further forward and reaching for the waistband of his underwear, having to stretching it clear of his erection before pushing them off his hips. John draws in a heavy breath, air hissing through his teeth as her warm hand wraps around the base of his cock. She tugs him towards her and he hardly needs her urging as he shuffles forward. He feels her heat on his cock, just as he had against his face and then the tip of his cock is sliding through her slippery folds and she guides him to her entrance. John tries to focus as the tension inside him that he has been successfully ignoring spikes, tensing his butt and tightening his balls.

She draws up her legs and they slide along his sides, her toes tickle the outside of his thighs. He grabs her legs and spreads them, maneuvering them past and then over his shoulders, her calves and heels rest on his back. He thrusts forward, and at the same time let his weight shift forward and down, pressing her thighs back and her knees toward her chest.

Then John pounds repeatedly in and out of her, makes her let out painful cries, groans, pants and lose her controls. His attack is not just a soldier but a man who is like a superman. Her adamantium endoskeleton never makes him pain but it's from the frictions during these long penetrations. John gnashes his teeth to keep his loud cry inside his throat as he penetrates her powerfully like when he fires his gun, rakes at enemies.

Her sex grips him like a velvet covered vice, which he forces apart in order to forges a tingling, sparking trail of delectable friction to her snug, molten core.

His balls are already boiling, his control hanging by a thread. Her hands reach for his face and he doesn't know if his control will withstand her touch, so he intercepts them, grasping her wrists. Her hands don't stop and she resists him as he pushes against him. The struggle shifts him inside her and he grits his teeth as the shiver of pleasure the simple shift causes snakes up his spine. He pushes harder and suddenly her resistance vanishes and he presses her wrists and arms onto the bed.

John is breathing heavily through his nose, his face poises over hers, her eyes half-lid and partially hiding her usually intense and unwavering stare.

With, a grunt, he starts to pound into her again. His strokes are short, fast and powerful. He sees her pearly white teeth dig into her lower lip so hard, he is surprised she doesn't draw blood as her back arches, pressing her torso up to meet his. His flesh collides with hers in a staccato beat so fast the shock wave of one-collision merges with the next. The sound merges with the rhythmic creak of the bed and their cries and his fingers slide from her wrists to link and tangle with hers.

John can feel his hips stutter with fast rapid-fire thrusts stabbing at her sweet core, grinding against her trying to get deeper although it is physically impossible. He throws his head back and bellows with the white hot surge of pleasure that blazes through him...that tenses his back into a taut bow, his vertebrae grinding together with the tension while his hips continued to buck. Their climaxes sear across their nerves, overloading their senses. His chest is on fire and his heart feels like it will burst as his dick convulses and he pumps his seed into Cameron in heavy, draining spurts. Their cries become a series of grunts connected to each of those spurts, her sex squeezing against him as he expands before each one.

The time of happiness, love and enjoyment ends with their powerfully and painfully climaxes. Tiredness replaces their emotion and...He collapses on top of Cameron. Their eyes are closed, his face buries in her hair above her shoulder. She hugs him in her embrace and...let's them sleep with each other in peace...and it's what they want. They don't want anything else...only their happy lives here. Skynet is no longer. Marshal Connor and Major General Connor aren't here to destroy that AI but only to live their lives together with their love friends.

They completely fall asleep. Happiness is on their each face. They both smile as they sleep deeper still in their love embrace.

DISSOLVE TO:

EXT. BASE – NIGHT

In the Utopia Future again; The war starts for the rest of tomorrow. Powerful plasma-blasts, laser weapons, light sabers and cannons blast everywhere. Human troops are less than the enemies who are humans but only their minds aren't humans. This hell night happens to buy the time for the humanity saviors.

INT. NEW TDE CHAMBER – NIGHT

The utopia future again. With sirens blaring, there is no time for Stefan Jr. and Maggie Moon to help their friends as the new style energy bubble surrounding them.

Nevlin is trying to protect them. They can just watch what the hell night is happening. Around the chamber is some kind of laser or plasma shield which is protecting them from every shots.

Nevlin jumps toward a zombie human and kills him by his fist. The body falls on the ground with high tech plasma rifle. Nevlin grabs the rifle as the METAL PARASITE pieces through the head of that zombie guy and flies up toward his head...but he grasps it in his fist, throws it into the air and blasts it.

STEFAN JR.  
I can't leave you alone, uncle.

Nevlin kicks two of four men away and turns to look at Stefan Jr.

NEVLIN  
You are the hope. Good bye, Stefan.

STEFAN JR.  
No, uncle.

The light bubble becomes a beautiful chrome covering both Maggie and Stefan Jr. This isn't the time bubble we always saw in Terminator franchises but this looks different. Blue, purple, violet and cyan lightning sphere is shaped rapidly. Stefan Jr. and Maggie Moon seem to be very sad as they see many people die around them.

Their eyes roll and see...

THE MAN ON MARS walks in the room, meet Nevlin.

NEVLIN  
You son of a bitch!

Nevlin blats his rifle at that man but he can recover the mimetic poly alloy skin in a few seconds after blasting. We realize that this guy is THE T-2000. Nevlin rushes to kick that T-2000 ten meters away toward the big generator.

Nevlin turns back.

NEVLIN  
Don't worry about me. We'll see.

Nevlin reaches in his jacket, grabs a soap...what?...no...not just a soap but some kind of bomb or something.

Stefan Jr. is about to step off the chamber but Maggie seizes his arm, stops him.

STEFAN JR.  
No. Nitroglycerine.

Nevlin smiles happily, picks out a knife, stabs the soap and throws it down on floor.

NEVLIN  
Hasta la vista, baby.

The high tech time bubble dances about then the light explodes, Maggie and Stefan Jr. disappear and the whole scene becomes white with the light.

EXT. DESERT – NIGHT

From the point away from the base, we can see the base EXPLODE and the semicircular explosion expands territory of about 1 km diameter. The light slowly swells, goes wide and covers all armies around here. Then the explosion expands its territory to be bigger than every nuclear explosion.

HIGH ANGLE, revealing the area of desert near Palmdale. The explosion expands at the point it can't go wider. Then it explodes again with the blue barrier light which destroys everything including the area of the base.

The light of the explosion withdraws and reveals the result of the large explosion, it's like the large meteoritic hole. No one survives and nothing is around here. No body count. The T-2000 may be dead.

EXT. DESERT – MORNING

The smooth ground has nothing, not even one piece of MPA mass. But in the sky, we see an air ship flying low and slowly descends on the land.

A man gets out of the ship with two other men. They're T-KAPLAN, T-WANG PICHAO and...Oh! My god...THE T-2000. They look around.

T-WANG  
Interesting.

T-2000  
Thanks to you, Mr. Wang. It's like you think.

T-KAPLAN  
What's the last words?

T-2000  
There are two of them have traveled back through time.  
Can you create me a time displacement equipment?

T-KAPLAN  
You know we can.

The T-2000 smiles as the METAL PARASITES pierce through the heads of the two TOKs and join the main mass of the T-2000 at the back of his head. The eyes glow red. Looks powerful.

T-2000 (cont'd)  
Thank you for your information.

The T-2000 walks off.

We focus on those TOKs and see that their chips were destroyed. This T-2000 has many surprises. Mind controls. Nanotechnology. Control other machines. We may know other surprises soon.

DISSOLVE TO:

EXT. TOPANGA CANYON – NIGHT

Back to 2030 again; The same spot of Sarah's time travel in the first scene: it's quiet and peaceful. Wild fingers of BLUE-WHITE ELECTRIC ARCS dance in a stone.

The strange lightning forms a circular opening in mid-air, and in the sudden flare of light we see two FIGURES in a SPHERE OF ENERGY. Then the FRAME WHITES OUT with an explosive THUNDERCLAP!

Through the clearing vapor we see the figures clearly...a naked old man and a woman. SARAH CONNOR and THE ENGINEER E. BOYKINS have come through. From now on, we'll call the engineer E. Boykins just "PF E. BOYKINS"(From: Previous Future E. Boykins).

They both rise. Sarah Connor looks around herself, learn the future. PF E. Boykins just smiles proudly. He never looks proud like this before. He may sense someone he loves in this time line. Allison Young is still alive around here.

Sarah thinks about it, turns to PF E. Boykins who turns to look at her, sees her nudity but doesn't feel anything with it. Sarah doesn't notice anything from this guy. Sarah catches her breath and asks him.

SARAH  
Where...are we? Where are we?

PF E. BOYKINS  
Same where, different when.

They both turn to the direction of the city, see the unfinished repaired ruins.

PF E. BOYKINS  
It's the time to search for our friends.

SARAH  
Resistance won?

PF. E. BOYKINS  
Yes. But Ellison and Auldridge and other  
friends you know are dead. We have to go.

SARAH  
Where?

CLOSE ON PF E. BOYKINS as he smiles happily.

PF E. BOYKINS  
Zeira Corporation.

FADE OUT.

**END OF ACT 4**

**THE END**


	2. EP02 : Old friends meet

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**Terminator:  
The Across Time Chronicles**

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**F05E02**

"**Old friends meet"**

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**Written by  
Stefan1994**

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This document is fan-produced fiction based on the television series, Terminator - The Sarah Connor Chronicles, and a fan-made season of fan fiction, F03 and F04 Terminator - The Resistance Fighters Chronicles, written by Stefan1994, eyeshieldTe and Mario28. This is done in spirit of fan fiction, to have fun and enrich the total fan experience beyond the limitation of the original story vehicle. In that spirit, and holding to the long tradition of free promotion. This story is being made available to the show fans for entertainment purposes.

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**TEASER**

WE OPEN ON:

EXT. LOS ANGELES – NIGHT

The skyline of buildings beyond has been shattered by some unimaginable force like a row of kicked-down sandcastles. Some spots in this city have plasma-weapons-firing and explosion. The small battles between humans and machines and we realize that we are in...

SUPERIMPOSE: "PREVIOUS FUTURE: 2027"

WE DISSOLVE TO a collapsed high rise...where a girl is running, she runs and runs fast...running from an endo. We don't see her and the terminator clearly but her hair is brown and her height is about 5'6" and that terminator is about same size of her.

TRACK THE GIRL'S FEET as she runs down the building, moving pass many stares of the ladders...she runs and runs only for her life. The feet of that terminator running close but she tries to speed up. Those steps with the voice of that girl which is like Allison's or Cameron's.

That girl runs down and crashes through the door and quickly grabs a plasma rifle which has laid on the first floor.

The girl turns, revealing she's PREVIOUS FUTURE ALLISON YOUNG...who turns and head-splats the endo, causing it fall onto the floor.

Allison lowers her gun and relaxes.

PF ALLISON  
Not today, Skynet. Not today.

Allison turns and walks away from that endo...but only we move our CAMERA to look at that endo closer and closer and everything is very clear, it's a T-600 endoskeleton. HOLD ON THIS IMAGE as E. Boykins VOICE speaks:

E. BOYKINS (V.O.)  
Time isn't what or who can wait. It's always  
hot-tempered. It doesn't know how to wait.

CUT IN BLACK TO:

EXT. CITY RUINS - NIGHT

Black sky. Stars. With a roar an AERIAL PATROL CRAFT enters close overhead. It has flashing red and blue lights and powerful searchlights which stab down.

E. BOYKINS (V.O.) (cont'd)  
Day and night get pass in every 24 hours. Every  
news and every events change every seconds.

TILT DOWN to a vista of moonlit devastation. White ash blows in drifts among fire-gutted ruins. Another aerial unit hovers several blocks away, firing tracers into the ruins.

E. BOYKINS (V.O.) (cont'd)  
Some say that there is one thing won't change by  
the time. It won't change if nothing destroy it.

EXT. RUINS/POV THROUGH SCOPE - NIGHT

An electronically enhanced image of the aerial H-K as it patrols the ruins.

E. BOYKINS (V.O.) (cont'd)  
It's somewhat immortal.

EXT. RUINS - NIGHT

MED. ON PREVIOUS FUTURE KYLE REESE as he scans the ruined city with a starlight scope mounted on his energy rifle.

E. BOYKINS (V.O.) (cont'd)  
And it's like a promise, a swear.

WIDER as Kyle and several squad members enter a concealed man-hole and descend out of sight.

E. BOYKINS (V.O.) (cont'd)  
Our friendship.

INT. STAIRWELL - NIGHT

A squad climbs down a debris-choked stairwell. They pass a sentry post. Move down through several levels. Reach a welded barrier. Two sentries with GERMAN SHEPHERDS on short leashes pass them through.

INT. PARKING STRUCTURE - NIGHT

This is a cavernous chamber, an old parking structure, in which a large group lives. Our camera patrols the perimeter, along a row of rusted CARS. He passes several family groups. Gaunt kids are huddled around an old TV SET.

REVERSE ANGLE reveals that the set has been gutted and a small cook fire crackles inside the shell. Nearby a kid has a LARGE RAT cornered and is whacking it with a stick.

We are getting deeper and we see a girl run into this structure with her plasma rifle. She's Allison who runs from another tunnel. She walks through the rear guards who have stood with dogs and she hands the group leader a paper. That leader just glances at it and looks up at Allison who has been waiting for the answer or response.

LEADER  
Okay. You bring a good word to us. Maybe I'm  
gonna go to check it for you, young emissary.

PF ALLISON  
Thank you.

The group leader walks off. Allison looks around. Then she sighs and glances at...

...the platoon who enters, Kyle Reese is there and there is no Derek. Kyle looks bored. Allison sees that he's coming but a voice calls her.

LEADER  
Emissary over here!

Allison turns away from Kyle who doesn't even notice her there. Allison leaves the area, follows the call.

PF KYLE REESE pauses at the end of the row of vehicles and unsnaps a pocket in his tunic, removing a small paper rectangle, a photograph.

C.U. - REESE gazing down. His head snaps around at the sudden sound of BARKING.

ANGLE ON SENTRY POST as the dogs go crazy.

SENTRY  
(shouting)  
Terminator!

An innocuous, RAG-DRESSED MAN: THE TERMINATOR FROM T1 flips back his poncho to reveal a powerful RSB-80. He opens FIRE, running forward. PLASMA BOLTS rip into the crowd.

MOVING WITH KYLE, running toward the Terminator.

INT. MEETING AREA – SAME TIME

Everyone here hears the sign and the battle which starts out there. PREVIOUS FUTURE NICK CORBIN, a US Navy officer with a plasma rifle, steps into the light, hurriedly. That leader quickly grabs the big RSB-80, shouting to other two men and Nick.

LEADER  
Protect this young emissary.  
She's very important. Go. Now.

NICK CORBIN  
Yes, sir.

PF ALLISON  
No, I can help.

Nick quickly grabs Allison's arm hard and shoves her toward those two men.

NICK CORBIN  
Go. Allison. Connor's plan must be done. Go.

Allison has to go even she doesn't want it at all. She nods, unwilling. The men take her to another small secret exit.

INT. PARKING STRUCTURE - CONTINUOUS

ANGLE ON KYLE running. He levels his plasma-rifle and starts firing. A plasma-blast grazes his cheek, EXPLODING a support column behind him. Part of the ROOF COLLAPSES as Kyle tumbles.

Everything is lit as if by lightning.

C.U. - KYLE semi-conscious. Burned. Bleeding. Impressions implode on him: running feet, flashes, energy beams, screaming.

Kyle looks up. A figure looms above, a silhouette in the smoky, hellish glare. THE TERMINATOR. Its eyes glow red.

A brilliant EXPLOSION WHITES OUT THE SCREEN.

DETAIL: The picture Reese has been looking at has fallen, forgotten. It catches fire and starts to curl. Before the image vanishes we see that it is a picture of Sarah.

On Kyle, his power comes back at that time, he rises as a strong soldier hero. He evades from blasts and fires back. Spins and jumps. Nick and the leader get into the resistance, firing their guns at the terminator.

WITH THE SOUNDS OF PLASMA-FIRING, we FADE TO:

EXT. TOPANGA CITY – NIGHT

MOONLIGHT. THE SKELETON of a large DOG lies on the ground, partially covered by dust.

SUPERIMPOSE: "PRESENT FUTURE: 2030"

WE PAN TO SEE a caved-in STOREFRONT, makes out a clothing store's TATTERED SIGN on the ground, amidst broken glass: "SALE! GOING OUT OF BUSINESS! EVERYTHING MUST GO!"

INT. RUINED CLOTHING STORE - NIGHT

FALLEN RACKS, CLOTHES and SHOES covered in years of dust and rubble. PF E. BOYKINS and SARAH CONNOR, both grateful to get dressed, have pulled on jeans and sneakers. Sarah just grabs one bras up for herself.

SARAH  
After that, Allison had been captured by Skynet.  
Then terminator who captured her became Cameron.

PF E. BOYKINS  
Yes. It used to be a long time for me to forget  
Cameron's fault because it was really not hers.

PF E. BOYKINS reaches his right hand, his telekinetic power pushing the FALLEN CEILING TILES from a RACK OF ARMY JACKETS.

PF E. BOYKINS  
You like jacket?

His telekinetic power brings two good jackets to his hand.

SARAH (cont'd)  
It's always better than just one bras.

PF E. BOYKINS  
(handing a jacket)  
What about this?

Sarah takes it and gives him a warm smile.

SARAH (cont'd)  
Thank you.

EXT. DEAD CITY - DAY

BLUE SKY. TILT DOWN to find Sarah and PF E. Boykins, who plod on through the dead city's outskirts.

SARAH  
Your story is long. Maybe it can be a good fiction.

PF E. BOYKINS  
I used to like many fictions.

SARAH  
I know. But I still don't understand why you want  
to meet Catherine Weaver, not John Connor or others.

PF E. BOYKINS  
Old friend.

That got Sarah's attention. They both stop and look at each other. PF E. Boykins just smiles friendly.

FLASHBACK TO:

INSERT FROM F03E03:

INT. STEFAN'S ROOM – DAY

PF STEFAN'S POV.: It's BLACK because he closes his eyes. SOUND OF A PLASMAFIRE. He's not killed. He slowly opens his eyes.

Cameron aims the gun to the left side. PF Stefan turns and SEES an T-888 endo with LSA machine gun on its hands, falls down lifelessly. On its head, was damaged by a plasma fire.

BACK TO THEM;

CAMERON  
I can't kill you, Stefan.

PF Stefan can't smile. He looks a little angry. Cameron walks to an endo and takes it out.

PF Stefan looks at PF Allison's dead body on his bed. A couple of tears fall. The sounds of steps run into the room. PF Stefan turns and faces his father, THE PREVIOUS FUTURE GENERAL ANONGSAK PICHITCHAI who is armed with a plasma rifle. PREVIOUS FUTURE JUSTIN PERRY(S01E06) and PREVIOUS FUTURE WELLS(S02E02) follow into the area.

GEN. PICHITCHAI  
(in Thai)  
"What happened, Stefan?"

PF Stefan quickly wipes his tears by his hands.

PF STEFAN  
"No...No. Dad. Nothing."

Everyone relaxes.

PF WELLS  
I'm happy you are still okay. Allison might...

But he stops after he have seen everyone's gaze which has seemed to be bad response. PF Wells feels bad after that. He looks at PF Stefan who still stares at Allison's dead body, looks sad.

PF WELLS  
I'm sorry, Stefan.

PF Stefan looks up and smiles.

PF STEFAN  
Never mind. It's alright. What about your  
mission? Connor gave you like I ever said.

PF WELLS  
Just an easy mission. The list is easy to manage.

PF STEFAN  
I'll be back soon. Just a few months.  
So see you again in about three months.

PF WELLS  
Russia?

PF STEFAN  
No. Je-ju do. The factory musts be destroyed.

PF WELLS  
(re Allison's body)  
What about her?

PF Stefan looks back at Allison's body. She's dead but his love never be gone, he still gives her his heart. Both PF Perry and PF Pichitchai pity him but it can reach for the moon to resurrect her or even clone her. Everything with her is dead.

PF STEFAN  
She'll come with me. She's my lucky charm.

PF Stefan's hand touches her hair so gently as if she's still alive. He does it without distaste. Her hair is rough but his hand acts like it's as soft as baby's bottom.

PF Perry and PF Pichitchai look at him in b.g. It's sure that the father never wants this but he can't do anything to resurrect. Everyone knows it as well. No one can take her back. Perry looks at Pichitchai and touches his hand on the shoulder.

PF PERRY  
Your ship will be ready in 6 hours.

PF Perry leaves them. Sadness and sympathy are displayed on his face, his gaze and his feelings this time isn't soldier but a man who just lost his sister. Wells follows him.

PF Pichitchai looks back at his son who still touches her hair like she's his loved doll. PF Pichitchai walks toward him and touches his arm.

PF STEFAN  
(in Thai, sadly)  
"I know, dad. She's dead. But no one is like her.  
No girl encourages me when I want mollification.  
No girl does like her. No one. Including mom."

PF PICHITCHAI  
"I understand"  
(in Chinese)  
"Love always kills strong soldier."

PF STEFAN  
(in Thai)  
"I don't think so. For me, love is my power."

PF Stefan looks across the room to see...

PF STEFAN'S POV.: It's there near the corner. The box...the box which looks just like the same one that kept the metal monster inside. And it's this box which ever kept Allison's dead body inside and it always did, do or will keep her from corruption as well as formalin.

PF Stefan turns back at her, still touches her hair. He smiles warmly. And he tears.

PF STEFAN  
(in Thai)  
"I'll fight for her homeland. I'll try to  
save humans as many as Skynet has killed."

PF Stefan looks down at her.

PF STEFAN'S POV.: Looks in her dead eyes. Nothing's in there. Not even her soul. It's all lost.

CAMERA ZOOM IN, down deep into her eyes and...

INT. INFIRMARY ROOM – ALLISON'S HOUSE – DAY

...we flash cut into: the present future. Eyes become lives and we PULL OUT, revealing ALLISON PICHITCHAI is on a bed in the room where looks like infirmary but all tools around here were fixed and stolen from hospital somewhere. The green blanket covers her knees that stand upright. Curtains are drawn all around the large five-meter-square area. E. BOYKINS sits on a wheelchair, stiffly at Allison's side, holding her hand. Allison winces with pain and starts breathing deliberately. She grips his hand tightly.

CAMERON (O.S.)  
Again. Allison. Push harder.

WE PAN TO SEE CAMERON CONNOR has been looking at cervix under the blanket. She's somewhat good midwife.

OUTSIDE THE CURTAINS.

We still hear Allison's voice from here. JOHN CONNOR and NEVLIN GLAU stand outside. Allison screams loud enough for everyone here can hear her and worry. KYLE REESE just enters.

KYLE (cont'd)  
Marcus is looking at the boy. How's she?

JOHN  
Cameron is trying to help her.

NEVLIN  
I think I can help. I have data files.

KYLE  
But you are still male. Girl like Allison  
won't let anyone else see her womanhood.

INSIDE THE CURTAINS.

Allison winces more painfully as she tries to bring forth her daughter. She breaks and breathes for more oxygen. She then looks at her husband with fear. Her fear is like when she was trying to give birth to her son.

E. BOYKINS  
Again. Allison. For her. For me. For our kids.

ALLISON  
(softly)  
I'm a good fighter. I know.

Allison cries out in pain, she screams as she tries once again to push. She screams and then she pinches his hand hard and screams once more. Now there is a voice of a baby crying. She then breathes deliberately and looks down. Cameron looks up at her.

CAMERON  
(borne away)  
I got her. You just did a good job.

E. Boykins smiles delightfully. He and Allison look at each other with both love and congratulation.

CAMERON (O.S.)  
She looks just like her mother.

Cameron takes the baby there with cotton and hands E. Boykins their daughter. E. Boykins turns to Allison and shows her their daughter. Allison smiles happily.

ALLISON  
Yes. Just like me.

Allison reaches her arms for her daughter. E. Boykins smirks and gives her the daughter. Allison looks at her baby with happiness and exultation. E. Boykins on his wheelchair can't even stand, so he can't lean to kiss her if she doesn't want. But this time he really wants to reward her.

E. BOYKINS  
Now let's continue your birthday.

ALLISON  
Not just mine.

E. BOYKINS  
Yes. Her too.

Allison closes her eyes and leans to him. He smiles happily and kisses on her forehead. They roll back and lock their eyes. Their smiles haven't faded. Their love is increased in every moment their eyes lock.

* * *

**ACT 1**

**(Orwell the baby)**

EXT. PACIFIC OCEAN – NIGHT

SUPERIMPOSE: "SEPTEMBER 2027 - PREVIOUS FUTURE"

SUPERIMPOSE: "HTMS PHUTTALOETLA NAPHALAI - PACIFIC OCEAN"

The knox-class frigate which is full of weapons and Asian sailors(Thais, Japaneses, Chinese, Vietnamese and Indian), is on the surface of the big ocean. THE POV slowly runs from bow through stern.

CRASH! Some sailors tumble to the water as the ship strikes something. Other sailors try to help them up again. A man shouts:

MAN #1  
(in Thai)  
"We crash something we don't know!"

EXT. STERN – NIGHT

PF GENERAL ANONGSAK PICHITCHAI hands out orders to a team of Thai soldiers. They open a large case containing two new props.

GEN. PICHITCHAI  
"Get that fixed! Holding up the travel."

Two SOLDIERS move fix to the problem...

All action stops as a muscular NAKED WOMAN who we ever saw in TSCC- PETTY OFFICER SUMMER GOODNOW(S02E18), climbs onto the frigate, dripping wet. She's not Summer Goodnow, but she's the T-1001. THE T-1001 steps aboard. The T-1001 stands and impassively surveys the surroundings.

T-1001  
I wish to see General Pichitchai.  
The leadership of this resistance.

A man realizes and...

MAN #2  
Metal!

Everyone immediately aims their weapons at the T-1001 but General Pichitchai quickly shouts to stop them.

GEN. PICHITCHAI  
Hold on. Soldiers.

Gen. Pichitchai steps toward the T-1001 and reaches his hand to her, offering for a greeting. T-1001 considers that for a few seconds and takes his hand to shake it slowly and politely. All soldiers around here look confused. They lower their weapons slowly as Gen. Pichitchai and the T-1001 shake hands friendly.

Gen. Pichitchai turns to his men.

GEN. PICHITCHAI  
Get back to your duty stations.

Some of soldiers shout YES SIR!, some shout AS YOUR COMMAND and they all separate toward their duty works. Some are still around here to fix the frigate part.

Gen. Pichitchai and the T-1001 continue shaking hands.

GEN. PICHITCHAI  
Good to see you around here, metal lady.

T-1001  
Where is that young psychic?

GEN. PICHITCHAI  
We'll talk about him later. He's now hillbilly.  
Talk to that dead body everyday. And never want  
to go out except we got an enemy. How's John?

T-1001  
He's dead. And we can fight against them.

They release each other's hand. The T-1001 smiles.

T-1001  
Don't worry, Mr. General. We won't lose.

GEN. PICHITCHAI  
That TOK can't be trusted. We are getting to  
Los Angeles to join Connor. I'm sorry about  
what Flores and those sailors did to you.

T-1001  
My fault too. I killed a member. I thought  
that this face owner couldn't be useful to  
us. So I killed her and...besides, she was  
trying to kill me during the first meet.

T-1001 surveys the stern. Gen. Pichitchai follows her steps.

T-1001 (cont'd)  
They disappointed me. At first, I didn't wanna  
join humans but I lost both my men and my master.

GEN. PICHITCHAI  
Humans are the problems.

T-1001  
I think so. But sometimes I think that the  
problems are also good to be a good key.

GEN. PICHITCHAI  
Open the paradox boxes.

T-1001 stops and looks at Gen. Pichitchai.

T-1001  
No. But being the strongest race.

GEN. PICHITCHAI  
No power in the universe can stop me.

T-1001  
But there's still a thing can stop you. It's not a  
power but it's the drug they are trying to produce.  
We don't know much but it can kill human brain with  
one drop. You should be careful.

Gen. Pichitchai thinks about it. Awhile. And he turns back at the T-1001. He has his smile on his face. Not friendly at all.

GEN. PICHITCHAI  
Okay. So...what do you want? Why are you here?

T-1001  
In Seirra, there is a base of Skynet which  
has a time displacement equipment. And in  
Topanga now, has a new facility. We don't  
have much time, Mr. General. We have to go  
those two places for our future and past.

GEN. PICHITCHAI  
No one around can't be under your command.

T-1001  
John Connor is dead.

GEN. PICHITCHAI  
You know it.

T-1001  
He died few days ago. Killed by an old model.  
I and John Henry had watched it before we got  
attacked by Skynet deep water force. Our last  
hope now is up to your son.

GEN. PICHITCHAI  
It can be like that if you can help him better.

CLOSE ON THE T-1001 as she nods and smiles subtly.

T-1001  
So please tell me where he is now.

EXT. LOS ANGELES – DAY

The structures of everything look repaired and modified. It's gonna be more modern than the Los Angeles city in our present day. The humans, cyborgs and endos are working together as well. The fate of this city can be the good one and it can be the good day that will increase relations between machines and humans. Like when Orcs and Night Elves in Warcraft story living together in a peaceful land.

INT. GYM – DAY

JESSE FLORES kicks the shit out of a punching bag, practicing Israeli Krav Maga. She's lean and ripped, defined muscles covered in sweat. Her fierce eyes resonate with distant pain. Jesse steps away from the bag, wipes the sweat off her face, walks toward T-DEBBIE who has carried Jesse's two-year-old daughter- KITTY FLORES who looks a bit like Jesse and Derek Reese.

DEBBIE  
You still look strong, Admiral.

JESSE  
I'm not a navy anymore. Please call me Jes.

Jesse reaches her arms for the daughter but Debbie doesn't want to give her.

JESSE  
Why?

DEBBIE  
You just freshly finished your exercise. Your skin  
ejects more carbon dioxide than your skin in normal  
stage. It's not good for the young baby to get  
much carbon dioxide into her lungs.

JESSE  
Oh! Okay. Thank you for that warning.

Jesse steps away from Debbie and the baby. She walks toward her locker and picks out her towel, gives Debbie a smile before she walks into the bathroom.

Debbie looks down at Kitty and starts singing lullabies.

DEBBIE  
(singing a song)  
EVERYBODY'S GOT A DIFFERENT STORY. EVERYBODY WANNA  
GIVE THEIR SELVES AWAY. BUT I'M STILL AFRAID.

We can feel mother-being beneath the song this nurse is singing for this baby. Debbie isn't just a machine we know she was.

DEBBIE  
(continue singing)  
IF WE CAN STAY OUT OF THEIR FIELD OF VISION,  
IF WE CAN KEEP OURSELVES A HALF A WORLD AWAY.  
AH HONEY WE'LL BE OKAY.

Kitty the baby, is like being charmed by the voice of Debbie. As we close on her eyes, the eyes half-close with enchanted feelings.

DEBBIE (O.S.)  
(continue singing)  
THE WORLD CAN BE SO CRUEL. BUT I WILL SING FOR YOU.

FULL SHOT and SLOWLY ZOOM OUT FROM DEBBIE and THE BABY.

DEBBIE  
(continue singing)  
THIS CRADLE SONG. ALL NIGHT LONG. EVERYBODY'S GOT  
THEIR OWN OPINION. EVERYBODY'S GOT A PLACE WERE  
THEY BELONG, LIKE A FAVORITE SONG. I DON'T WANT TO  
BE THE GHOST THAT YOU CAN'T SHAKE. I WANT TO BE  
THE REAL THING.

FADE TO:

EXT. CITY – DAY

Sarah Connor and PF E. Boykins walk through the repaired city of Los Angeles. Some people and workers look at them as they walk pass. Sarah feels like a deer in a spot light. But PF E. Boykins looks peaceful as he leads Sarah pass two department stores.

SARAH  
Why have they looked at us like that?

PF E. BOYKINS  
We are new in this city. Some of them are  
thinking that we are the infiltrators.

SARAH  
From what I know, Skynet is no more.

PF E. BOYKINS  
But some people still know that there are many  
machines out there who still run under the  
rules and automatic codes from Skynet.

Sarah exhales, feels bored.

SARAH  
So where are we going? Zeira isn't at the direction  
you are going. We should go to the south. Not this.

PF E. BOYKINS  
I'm taking you to see someone else. Catherine Weaver  
isn't at Zeira Corp today. She's going to San Diego.

SARAH  
My son's around here.

PF E. BOYKINS  
Not your son.

We stop tracking them but we notice a pistol inserted in Sarah's jeans as she and PF E. Boykins walk pass.

INT. GYM – DAY

Debbie is still holding the baby, gonna finish singing lullabies. And the baby now is completely asleep.

DEBBIE  
(continue singing)  
THIS CRADLE SONG. YEAH ALL NIGHT LONG. SING IT  
ALL NIGHT LONG. YEAH, YEAH. ALL NIGHT LONG.

Debbie smiles warmly.

DEBBIE  
(quietly)  
I felt like stupid to sing this song at day.  
But it's like Lucy said. It's effective.

Debbie slowly and carefully puts Kitty down on a pillow nearby. Jesse walks back into the gym. She wears her tank-top and BDU pants with boots.

JESSE  
(quietly)  
How's she?

DEBBIE  
Asleep.

Both Jesse and Debbie look at the baby with love.

PF E. BOYKINS (O.S.)  
So that's your daughter you have with Derek, Jes?

Both Jesse and Debbie turn and find PF E. Boykins and Sarah Connor standing in the doorway. The tension, confusion and surprise are immediate. They ever saw E. Boykins but they never met PF E. Boykins, so they might can't recognize him.

PF E. BOYKINS  
Good to see you around here, Commander. Oh!  
No! No! Not a commander. You're Admiral now.

Jesse looks more confused.

JESSE  
Who are you?

DEBBIE  
He's Stefan.

JESSE  
What?

Jesse suddenly turns to Debbie who looks normal. PF E. Boykins just smiles friendly in b.g. Sarah is looking around here like a woman from a hick country who just came into modern town.

DEBBIE'S H.U.D.: Gets recognize of E. Boykins by comparing with E. Boykins' face. 89% MATCH. And sees that this one is very older. The result still shows: "Warapop Pichitchai" Cursor changes direction from PF E. Boykins to Sarah and the system searches the matched face from database. 98% MATCH: SARAH CONNOR.

Debbie is agape and tongue-tied.

DEBBIE  
(mesmerically)  
Sarah Connor.

That gets everyone's(except PF E. Boykins) attentions.

INT. PICHITCHAIS' BEDROOM – DAY

Allison and E. Boykins both are abed with their two kids. Allison is laden with the baby, feeding her. E. Boykins is playing a small set of jigsaw with young SITTIPONG PICHITCHAI(2). They all look happy. Allison looks up at E. Boykins, sees him play with the son well. Good father in her attitude. E. Boykins doesn't notice her smile as he teaches his son to form a full picture of an elephant with pieces of jigsaws.

E. BOYKINS  
(to the son, re the jigsaw, in Thai)  
"Try here. Or here. Just think about how to  
form all pieces to be an elephant, Sam."

SITTIPONG  
"Ba ba. Ye...Yes. I..I am trying."

Sittipong puts down a piece on the space which will be ear, but that's a trunk piece. He's wrong.

E. BOYKINS  
"Not that direction, Sam."

E. Boykins corrects it, he pulls it up and puts it down on the right space, showing all ways to his son who learns it quickly. E. Boykins pulls that piece off of the space and puts it down abed near Sittipong, lets him try.

E. BOYKINS  
"You learn it now?"

E. Boykins sees his son cleverly puts that piece down on the right place. This two-year-old boy is talented. The son looks up and can see a smile on father's face. Allison smiles happily and looks down to her sleeping daughter.

E. BOYKINS  
"Good, Sam. Then can you do it yourself?"

SITTIPONG  
"Yes, dad."

E. Boykins smiles and turns to look after Allison who has been walking toward the cradle with her sleeping daughter.

CLOSE ON ALLISON as she gently puts the daughter onto the cradle. And as she touches the head of the daughter so softly,...

ALLISON  
(quietly)  
Have a good dream, Orwell.

And that's the daughter's nickname, she's ORWELL. Not just her nickname. When our gaze roam down, we see the tag that says the real name of this baby: "JIRACHAYA PICHITCHAI".

Allison moves away from her sleeping daughter and turns to face E. Boykins who has always faced her with a warm smile. Allison smiles back.

E. BOYKINS  
I think you should close your clothes.

Allison looks down and sees that one of those studs still isn't buttoned. Allison smiles bashfully and quickly buttons it.

ALLISON (cont'd)  
Thank you.

E. BOYKINS  
You still look same.

ALLISON  
What?

E. Boykins reaches out his hand but he can't move his legs. She knows that he just wants to hold her hand so she takes his hand in her left hand and sits abed near him.

E. BOYKINS  
I said that you still look same. Same as when we  
first met. You're still my brave 15-year-old girl.

Allison smiles more bashfully and hits his shoulder with blush.

ALLISON (cont'd)  
You a mellifluous, Stefan.

They both giggle. E. Boykins looks euphoric. He pulls her into a warm embrace.

E. BOYKINS  
You're not even older for me. Our relation is  
still like when first time I kiss you or even  
it's more than that time.

Allison melts her head onto his right shoulder as her arms hug him more closely. A couple of tears fall from her eyes. Those aren't from sadness but it's her happiness. Her rapturous smile on her face can be eternal.

E. BOYKINS  
I swear. Allison. I swear. If I can't protect  
my family, I'll try to find the way to die and  
I'll let whoever I know as an enemy to kill me.

ALLISON  
Please don't say that, Stefan. I don't want  
to lose both you and my kids. I never want.

E. BOYKINS  
I'm but a man now, Allison. But I'll try every  
way to protect my family. This is masculinity.

They separate and look at Sittipong who is gonna finish the elephant. Sittipong grabs the last piece and doesn't think much, he places it onto the last space and completely finishes the jigsaw puzzle. Sittipong looks up at both his mother and his father with a proud smile.

SITTIPONG  
"Am I clever? Mom? Dad?"

Allison grins.

ALLISON (cont'd)  
"Yes, you're so clever."

E. BOYKINS  
"Tomorrow we'll start a new game. What  
do you think, Sittipong Pichitchai?"

Sittipong smiles curiously like a scientist who just proved a new theory of the science world.

E. BOYKINS  
"I'll go. Find some old games for you.  
Live with your mother. Don't be naughty."

E. Boykins tries to move toward his wheelchair but Allison grabs his arm. She may want to go instead. E. Boykins quickly look back at her.

ALLISON  
I can go. You stay here.

E. BOYKINS  
No. You are weak. You need much time to sleep  
for yourself. You need to stay at place. Moving  
much will make you ill.

ALLISON  
Okay. Thank you.

E. BOYKINS  
You're welcome.

E. Boykins moves toward his wheelchair faster. Allison moves closer her son and starts playing with him.

INT. KITCHEN – DAY

Cameron Connor and Nevlin Glau both are cooking. John is a good asistant. Cameron can shout command John as if he's her servant.

CAMERON  
John, I need salt.

John rushes to left counter, grabs a small bottle of salt and hands it to Cameron who carefully salts her stew in a small pot. Nevlin is frying a good looking omelet. John brings two plates from the cupboard overhead and puts it down on a counter behind him. Turns to Nevlin. Changes duty. Nevlin pours his omelet onto the plate John prepared.

CAMERON  
Okay. I finish it.

John quickly moves toward her.

JOHN (cont'd)  
Let me taste it.

Cameron gently and carefully spoon-feeds John who tastes it slowly and carefully and considers its deliciousness.

JOHN  
It's...good. Good enough.

Cameron smiles happily.

EXT. ZEIRA CENTER – DAY

This isn't Zeira we knew. Now it's some kind of both technology center and capital center. It's big and has high tech rubberskin guards- THE T-600s who are armed with lightning cudgels. Only this building is completely repaired and modified, the others are being done by workers. The Zeira building is both modern and stately. The walls are made of brick or ceramic. The lines are clean. It's functional with an elegant style. The some parts of the building now are elaborated by new glass walls, doors, automatic computers, touch pads,...looks exactly the high tech facility where may have everything for people.

The Zeira Center is populated by roughly equal numbers of humans and T0Ks, but some obvious robots also mill about. It isn't overcrowded.

Debbie leads Jesse with Kitty, PF E. Boykins and Sarah Connor across the street toward the Zeira Center.

DEBBIE  
You may fall in love this center, Ms. Connor.  
It has almost everything you may want such as  
technologies, foods, servants, and it's school.

SARAH  
This looks like a center in sci-fi.

DEBBIE  
You can think so.

JESSE  
The security has detectors which can sensor  
weapons by scanning the picture and compare  
with database to find that it can be the weapon  
or not. If it can't, you can come through.

PF E. BOYKINS  
I knew already. Thank you.

Debbie leads the follower to meet with the head of security who is the biggest male T-600 and he is now near weapon detectors at the entrance.

DEBBIE  
Good morning, Peter.

HEAD OF SECURITY  
Good morning to you too, Ms. Debbie. You know  
the rules about visitors in the center. I need  
written authorize for those two new people who  
don't have any IDs in my database.

We can notice that the eyes of this humanoid has been glancing at both Sarah Connor and PF E. Boykins. Debbie turns, sees her problem. She nods to Jesse who then walks pass the detector to the other side, inside of the building.

DEBBIE  
These persons are more important than you  
ever expected. In that case, we don't have  
the paperwork but Ms. Weaver must face them.

HEAD OF SECURITY  
I'm sorry, Ms. But I have to do after the rules.

DEBBIE  
Please, Peter. This is very important. John Henry  
ever taught us that sometimes we can change the  
rules to make others happy. So you should change.

HEAD OF SECURITY  
No. Only real important persons can offer me to.

DR. BURNETT (O.S.)  
What's wrong?

Sarah can remember the voice. Everyone remembers this voice. They all turn to face DR. FELICIA BURNETT who already stood behind PF E. Boykins. Felicia now is about 40s but she still looks curious and sharp. Her suit is very modern with the logo of Zeira Corp and the tag which says her name and her division; **Zeira Medical Division : Dr. Felicia Burnett M.D.- Head of MD.**

Everyone looks surprised. The old friends meet. Both Sarah and Felicia never thought that they might have this day.

DR. BURNETT  
Sarah Connor.

SARAH  
Dr. Felicia Burnett.

The smiles on their face fade in as they both breathes heavily as if they are meeting a star. Their eyes widely open with surprise.

DR. BURNETT  
How can this be possible? How can you survive?

SARAH  
It's a long story. You're not dead.  
Where are the rest of us, doctor?

DR. BURNETT  
James and Albert are dead. Now we're just four.  
Matt Murch and Semina Murch just got married a  
few months after the last battle of Atlanta.  
Father Armando Bonilla now lives in his extra  
church in the north.

That also makes Sarah a bit happy. She giggles happily.

SARAH  
And now how can we meet Weaver?

DR. BURNETT  
What's the problem?

DEBBIE  
The H.O.S. doesn't let us pass.

Felicia hears so, knows that this isn't appropriate. Both Sarah and PF E. Boykins should can enter this place as others. Felicia moves to the H.O.S. Peter.

DR. BURNETT  
Peter, what's wrong?

HEAD OF SECURITY  
I'm sorry, Ms. Burnett. But they aren't authorized.

DR. BURNETT  
So I insist. Hope that my shareholder-being is enough.

HEAD OF SECURITY  
Okay, Ms. But you have to sign your fingerprint...

The H.O.S. Peter reaches a high tech touch-pad toward Felicia.

HEAD OF SECURITY (cont'd)  
...on this page. And your new friends too.

Felicia presses her finger on it. Then Sarah and PF E. Boykins. And the pad shows result: "_**TWO NO IDs... Get pass... AUTHORIZATION: DR. FELICIA BURNETT M.D.(Status: 10% share)**_".

**END OF ACT 1**

* * *

**ACT 2**

**(Flashback of the Flashback)**

EXT. ZEIRA ENTRANCE – CONTINUOUS

Continue from the latest scene: They get pass authorization and the command on application overrides _**AUTHORIZATION ACCESS**_. WE TILT UP FROM THE PAD and the head of security smiles and leaves their way.

HEAD OF SECURITY  
Okay. You can get in.

DR. BURNETT  
Sounds good. Thank you.

HEAD OF SECURITY  
Nothing's out of my duty, miss.

And now Felicia nods to them and leads them into the building.

INT. ZEIRA CENTER, CENTRAL CORRIDOR – DAY

A successful form T-850 spots Dr. Felicia Burnett, Sarah Connor and PF E. Boykins approaching and walks into their path.

T-850  
Dr. Burnett. Sorry for running into you, but  
wanted to thank you. I'm Samuel Barton. New  
850 served under Matt Murch and Semina Murch.

SARAH  
He looks just like Bob.

Felicia thinks and smiles.

DR. BURNETT  
There's no harm in that. But thanking me...for what?

SAMUEL  
For your bravery in defeat of Skynet.

The trio start to giggle. Sarah seems very surprised with that. She never expected that this doctor would be a hero like this. She isn't even jealous. But Felicia thinks that she should tell others about Sarah Connor.

DR. BURNETT  
I think you're attributing me a  
bigger share than it really was.

Felicia stretches her hand and Samuel takes it and shakes it. But then Samuel does not let go and seems to be in a state of pride.

SAMUEL  
I'm thinking that someday I might  
see all heroes who fought Skynet.

DR. BURNETT  
Now you're gonna face other two.

Samuel lets her go and looks more proud.

SAMUEL (cont'd)  
Wow! Who are they?! I feel so proud. Let me assume.  
John Connor. Cameron. Allison or E. Boykins. They're  
all the good fighters in the war against Skynet.

DR. BURNETT  
No. Not them.

Samuel looks a bit confused. Felicia reaches behind her, indicates both Sarah and PF E. Boykins.

DR. BURNETT  
This is Sarah Connor and the engineer from  
previous future, his name is E. Boykins.

Samuel doesn't seem to be as surprised as when he spots Felicia. He stares at Sarah and PF E. Boykins for a few seconds.

SAMUEL'S H.U.D.: Bright and hyper-real, suggesting infra-red. The margins of the FRAME are crammed with columns of CRT-type characters: columns of numbers and acronyms. The data changes rapidly. Samuel's cursor takes aim and gets recognition of Sarah Connor... IDEN POSITIVE... and gets recognition of PF E. Boykins.

Samuel smiles proudly and reaches his hand toward Sarah.

SAMUEL  
Nice to meet you, Ms. Connor. I have data files  
about you and your team. You were good leadership.  
You and your son both were.

Sarah has to smile and takes his hand, shakes it. She still doesn't like machine but by courteousness, she has to do it as friendly as she can oppose to do.

SARAH  
Nice to meet you, too.

SAMUEL  
You don't want to shake my hand, Ms. Connor.  
I wish to know why. Or there is anything I  
still don't understand. Or I did wrong?

SARAH  
No. Nothing. Just I still don't like your kind.

They let each other go.

SAMUEL  
Oh! I understand. We're killer.

DR. BURNETT  
No. You aren't. You have to understand, Samuel.  
Sarah still embeds that machines were killers.

SAMUEL  
So I should give you more time to change your  
mind. Good luck, Ms. Connor. We'll meet later.

Samuel smiles friendly again and runs pass them. They look after his back as he gets in another room.

SARAH (cont'd)  
I think this one is so good. Murches teach him?

DR. BURNETT  
Yeah. I think. Let's go.

Felicia leads them toward the elevators bank. PF E. Boykins stops a few steps away from them, pauses.

FLASHBACK TO:

INT. PF STEFAN'S BUNK – NIGHT

PF STEFAN is sitting on his bunk. He is looking at the box in front of him which keeps the Allison's dead body inside. He looks at it as on a bed near him, it's a bottle of liquor. He is like he lost everything in his life. Everything he loved and everything he fought for is all gone. His tears are streaming while he is liquoring, alone in his room.

PF STEFAN  
No one is like you. Allison. No girl is like you.

Stefan turns the bottle upward, drinks it all before he throws it away toward the corner where...

...already has now four discarded bottles of alcohol.

PF STEFAN  
I love only you.

Stefan rises and steps toward the box. Looks inside.

PF STEFAN  
You are still beautiful.

STEFAN'S POV.: Allison is in there. She is in the box. She is kept very carefully, she doesn't decay but she doesn't look angelic like when she was alive.

PF STEFAN (O.S.)  
I'm sorry.

PF STEFAN, drops to his knees and his back then drops to the floor. His tears never stop. No one can decrease his pain. Not today. He blames himself as if it's really his fault.

PF STEFAN  
(more sadly)  
I'm sorry. Allison, I'm sorry.

CLOSE ON HIM: He is weeping so crazily and very sadly. He is crying his heart out. He is weeping for her who can't listen what and how he feels like. His mind power is decreasing every seconds he feels like this.

FLASHBACK TO:

INT. MESS HALL – NIGHT

E.C.U. THE GLASS WHICH IS FULL OF LIQUOR, and holds at this picture for a few seconds...

SUPERIMPOSE: "JULY 2027"

...and we tilt up, revealing the Mess Hall where looks like Zeira Mess Hall. Stefan at that time, drinks all liquor. PF Wells and PF PREECHA SINGHMAK are sitting beside him.

PF STEFAN  
Another!

PF PREECHA  
"Enough, Stefan. It's late."

PF STEFAN  
Another! Quickly!

A bartender comes and serves another glass. Stefan just sips it.

PF STEFAN  
"I don't know why she doesn't really love me.  
Why she just plays the game. I wanna know why?  
She doesn't care. I love her but this is what  
she did to me. What she did to me."

PF Stefan drinks it all. Preecha and Wells can't help but a girl can, that girl is PF Allison. She comes here for him. Preecha and Wells look at her. Stefan's head drops to the table.

PF PREECHA  
He won't stop easily.

PF WELLS  
What did you do, Alise?

PF ALLISON  
He heard what I said with General Connor.  
It's erroneous. He didn't hear it all.  
I tried to explain but he doesn't hear.

PF STEFAN  
Another! Now!

Stefan's too much drunk. He vomits onto Preecha's shirt. Preecha quickly stands but he's the friend indeed. And surely, he doesn't punch or push Stefan. He just steps away.

PF ALLISON  
I think you should go to the toilet, Pond.  
I think I can manage this. You can go.

PF PREECHA  
Thank you.

Preecha walks off. Wells follows him. The bartender comes and serves another glass. Allison sits down beside him, sympathizes with him. Stefan sips the liquor and faces her, looks at her with love and sorriness.

PF STEFAN  
Do you love me, Allison?

PF ALLISON  
I...err...I...

PF STEFAN  
You can't answer. Huh!

PF Stefan is about to lift his glass up again but she blocks him.

PF ALLISON (cont'd)  
Enough, Stefan. Okay. I love you.

PF STEFAN  
You don't really love me, Allison.  
Everything you say is just lie.

Stefan sweeps her hand away from his glass and drinks it. Allison sweeps his glass out of his hand and his mouth.

PF ALLISON (cont'd)  
It's enough, Stefan.

Stefan's glass collides against wall. Everyone in the Mess Hall flash glances at them.

Stefan looks at her and pushes her away from him.

PF STEFAN  
Go! Don't touch me. Don't say that you love me  
because you don't love me. This is enough.  
Don't play games anymore.

PF ALLISON  
I don't want to play any games. Okay. I ever  
played it once. But I'm sorry. It's my fault.  
I lied to you but this time I'm not lying.  
I swear to God if I...

PF STEFAN  
Everyone knows that there is no God.

PF ALLISON  
Okay. You're Buddhism. No God. But I really  
love you. I'm not lying now. I don't want it.

PF STEFAN  
I'm a stupid man, Alise?

PF Stefan tries to stand. Allison quickly stands and supports him but he pushes her off.

PF STEFAN (cont'd)  
Get away from me. I can walk.

Stefan walks staggeringly and falls back onto his seat. Allison tries to help but he always cuts her off.

PF STEFAN  
I said. Don't help me.

PF ALLISON  
(tearing)  
Why, Stefan?

PF STEFAN  
(crying)  
You're mean girl. You're mean.

Stefan cries painfully and drunkenly.

PF STEFAN  
Why hadn't you told me when we first met?  
Why didn't you want to tell me what you  
really want? Why did you make me love you?

Allison sits down beside him compassionately, a couple of tears flow from her eyes. She touches his shoulder gently.

PF ALLISON  
At first, I had tried to captivate you. To keep you  
around here as long as I can. It was for my people.  
But now I change my mind. I don't want just to  
captivate you. But I want to be more than a bitch  
who did everything for her people.

PF STEFAN  
I love you, Alise. I protected you. I did everything  
for you. I did everything for your people as well as  
my people. I never molest you. I honor you. And these  
are what you said. At first, I wanted to captivate him.  
Wanted to gain his trust. I was gonna keep him around  
here for our people. He can help us. You said these to  
General Connor. Your leadership. You said these to him.

Stefan looks doleful. He weeps on the table. Allison gets closer him. She wraps her arms around his torso, tries to reconcile him.

PF ALLISON  
I think I fall in love with you, Stefan.

Stefan tilts his face up, looks at her. His love for her never fade from his heart. He can't resist her and he can't control himself as much as he ever could.

PF ALLISON  
You're chivalrous. Man like you is hard to find.  
That's why I said to Connor that I have this love  
feeling for you. I know you didn't hear that.  
I said it after I had said those words to Connor.

Stefan shakes his head.

PF STEFAN  
I'm dirty. You're clean. You're pure. Please get  
away from me before we get closer and deeper and  
it'll be too late. Before we can't separate.

PF ALLISON  
So I'll love you forever. I won't interest in  
any men around here. I'm here with you. I don't  
hate you and I am willing to be your girlfriend,  
your love, your wife or whatever you decide.

Stefan smiles weakly. He's too much drunken. And as he touches her face so gently, we cut to:

INT. ALLISON'S ROOM – NIGHT

This room is Allison's. It's a one-time closet. There are two small bunks and one trunk. The trunk is painted black with panther eyes.

The door opens. Allison supports PF Stefan into her room hardly. Allison walks with him toward the bed, one of her feet kicks the door close. She puts him down on her bunk. She walks to the door, locks it. And walks back toward him.

PF ALLISON  
(with a sigh)  
You're heavy, sweetie.

Allison sits at his side. Looks at him and touches his hair. She smiles and exhales.

PF ALLISON  
I'm sorry for that, Stefan. I never think  
that you're dirty. I never think that you  
are disgusting. You're so gentle. I like  
or even love you.

Allison rises and walks into her bathroom.

Later, Allison gets out with a bowl and a small towel. Allison sits on his side and cool packs on his forehead, his neck and around his arms. Then she dips towel into water, brings up and twists it. Cool packs him very gently again. Allison does it as if he's her husband.

Allison dips a towel back into water again and touches his forehead with her hand.

PF ALLISON  
Okay. Good enough.

Allison unbuttons his shirt slowly and carefully, reveals his sixpack and his Asian light skin. Allison breathes heavily as she slowly strips his shirt off.

Allison cool packs his chest and his torso. Awhile before his right hand catches her left hand.

PF STEFAN  
(raving)  
Alise, I love you so much. I love only you.  
Only you. Why did you do that to me? Why did  
you captivate me and cut me off like we ever  
were together in any places, any wars.

PF ALLISON  
I'm sorry, Stefan.

Allison continues her job with one hand. She tries to freak herself out. She tries not to think about it. But it's like a charm that spells her to lean closer his face.

But she recalls herself and quickly rolls back. She gently removes his hand from hers and continues cool packing.

INT. ALLISON'S ROOM – HOURS LATER

Allison is asleep on a chair, her head has dropped on the side. Stefan is blanketed by Allison's worn-out blanket. Stefan wakes up and sits up, turns around.

PF STEFAN  
Allison!

Stefan looks to her, sees that she is asleep in cold. Allison wakes up as he grabs the blanket, gonna blanket her. Allison looks up, still woozy. She gives him a faint smile.

PF ALLISON  
Hey.

PF STEFAN  
What happened to me? Did I...

PF ALLISON  
No. No. You didn't. You were still chivalrous  
even you were much drunken. You're good man.

PF Stefan relaxes but he glances at her, sees her cold there. He hands her the blanket but she doesn't take it, shakes her head.

PF ALLISON  
No. You should. I'll be okay.

PF STEFAN  
No. I'm a man. I can endure with coldness.

But when he starts to rise, he feels a headache and stupor. He winces and falls to the bed again.

PF ALLISON  
What's wrong? Headache, huh?

Allison gets onto the bed and touches his forehead.

PF ALLISON  
I think you may drink it too much. I'm sorry.  
It's my fault. If I didn't hesitate, if I knew  
my mind, if I quickly told you I love you,  
you might not.

PF STEFAN  
No. Allison. Not your fault. Mine.

PF ALLISON  
I think you should get some sleep.

PF STEFAN  
Yeah. It might get my strength back.

Stefan lowers his head onto her pillow, lies back on her bed. Allison touches his arm and touches his cheek gently.

PF ALLISON  
I love you, Stefan. I really love you.  
I'm not really lying to you right now.

PF STEFAN  
Allison, I'm...

Stefan reaches for his shirt and rummages it but it seems that something is gone. Allison reaches in her pocket, brings out a BEAUTIFUL NECKLACE and shows him it.

PF ALLISON (cont'd)  
Is it this you're finding?

PF STEFAN  
Yes, that's it.

Stefan reaches his hand, wants it back. But Allison doesn't want to hand it back yet.

PF ALLISON  
Until you tell me what it is for.

PF STEFAN  
Okay, Alise. I'm finding it for you.  
I can't find any rings around here.  
This is for our engagement.

Allison giggles and looks at it.

PF ALLISON  
I think this is good enough for me.

Allison smiles happily.

PF ALLISON (cont'd)  
Thank you.

PF STEFAN  
You like it?

PF ALLISON  
Yeah, I like it.

PF STEFAN  
Let me put it on you.

PF ALLISON  
Okay.

Allison hands him that necklace and moves closer him. He slowly and gently puts it on her neck. It's very beautiful when it is on her neck. Stefan smiles warmly and proudly.

PF STEFAN  
Now we're betrothed.

Allison smiles proudly and happily.

PF ALLISON  
So now I'm your fiancee. Please let me  
do what every girl does with her love.

Stefan nods. Allison looks more happy, she quickly hugs him. Then she leans and kisses him. We know that this isn't just a common kiss but it can be a passionate kiss, it's very hot. She gives him control of the kiss as their lips slide and suck at each other, the tip of her tongue fencing with his until she grants it to her mouth where they wrestle in a sensuous massage. His arms wrap tightly around her back. One of her hands still wraps around his head, touching his short hair, as another hand slides through his back to the hem of his trousers, sliding from the back to the front, and putting into his trousers trying to excite his eroticism.

PF ALLISON  
Come on, Stefan. Do me favor.

Stefan steps closer Allison. His hands gently grasp her shoulders, their eyes slowly half-close. He pulls her against him and leans to kiss at her lips, gently touching as their eyes completely close. They give each other a control of the kiss as their lips slide and suck at each other, the tip of her tongue fencing with his until she grants it to her mouth where they wrestle in a sensuous massage. They break their kiss, breathe very hard and fast, and talk in softly tone, more like moaning.

PF STEFAN  
I love you.

PF ALLISON  
I love you too.

PF STEFAN  
We belong together

Allison starts to wrap around back of his head.

PF ALLISON  
Yes. Yes. We belong together.

Allison pulls him into her passionate kiss again. His arms wrap around her and he gives her a warm embrace. They slowly start to strip out as they still kiss.

CUT TO:

ON THE BED:

Allison who wears just underwear, is gently pitched on the bed. Stefan who wears just underpants, jumps on top of her. He gently flashes a kiss on her lip.

PF STEFAN  
(moaning)  
Alise, this is my first time. If I  
do something wrong, you can tell me.

She lifts up a little and kisses him at the cheek then smiles.

PF ALLISON  
It's my first time too, sweetie.

Stefan smiles and then gives her control of the kiss. Their eyes close as one of his hand slides up to her left breast, gently caresses it. Another hand picks through her undies and doing something under it what we haven't seen. Allison's abdomen starts to rock against him as her breathing is faster and harder. He slides two of his hands up and tightly wraps around her. He slowly slides his hands around her back. They break their kiss. He gradually puts her bra off. Her hands then start sliding down his chest, touching his strong muscle. She smiles then slides her hands down, grabs the hem of his underwear and tries to slide it off through his legs and he helps her for that.

Stefan quickly slides her undies off through her legs.

Allison immediately grabs his head up after that, looks in his eyes that look back in hers, and pulls him into her hot kiss again. He slowly lets his fingers slide over the hood of her clitoris and down amongst her folds. She gently puts his head up, lets him look into her eyes so deeply the psychic can have seen to the girl's soul, one of her hands gropes his head as his fingers slide her silky brown hair backward her head.

Stefan kisses on her neck together with one of his hands slides

up to her left breast, squeezing it so erotically.

PF ALLISON  
We belong together. Don't be afraid. You're not  
gonna hurt me. You're gonna make me happy.

As her mouth opens to talk something more, he silences her with the simple expedience of pressing his lips to hers. He keeps the kiss hard and insistent until she starts kissing him back and then relaxes and lets her share it, their head tilting and twisting as their lips slide and suck at each other. He lets his tongue tangle with hers in a slow, sinuous tango, tasting just a hint of him, until she probes back, battling his tongue back over the ramparts of their teeth. He pulls back slightly, and sucks and then nips at her lower lip before trailing his lips away from hers. He dips his tongue into the hollow at the base of her throat and swirls it around, sampling the flavor of her skin. He starts sliding in her between her legs. They both gasp as he penetrates her. He stops staying inside of her though looking at her with weary eyes. She smiles at him showing it's leaned his head into the crook of her neck, his breathing becomes heavy as he slides himself in and out of her.

PF ALLISON  
(screaming)  
Oh, Stefan. Fuck me harder and faster.

Stefan collects all strength then slides inside her very very hard. He stops staying inside of her though looking at her with weary eyes.

PF STEFAN  
I feel like I'm doing something wrong.

PF ALLISON  
(groaning)  
No. Do it. Now.

She smiles at him showing it leans his head into the crook of her neck, his breathing becomes heavy as he slides himself in and out of her. He starts fucking her harder and as hard as he can. His face moves up to hers, his tongue caressing her lips and the inside of her mouth. She closes her eyes, tightly grabbing and scratching at his back. She flinches biting her lip to keep from gasping again from the movement that isn't missed by Stefan, but he doesn't stop, he grabs her arms with very little pressure.

The psychic rolls over pulling the girl on top of him. Their bodies never disconnect. They are one. She sits up on him, his penis going deep inside of her. She sobs and leans down to kiss him. The psychic takes the girl firmly in his mind, his hands crossing over his chest, examining her and keeps his mind on her. The psychic controls the girl's body bouncing up and down. The girl always cries out of pain when her body automatically up and down on the psychic. The psychic's breathing becomes more heavily as his hands and his mind start to become unstable. The psychic takes the girl more firmly in his hands after he can't control it by his mind. He bounces her up and down then she sighs more happily. Allison grabs both of his hands, locking his hands stretch, and rocking herself against him between his legs until she weakens down and pants. Stefan rolls her down on the bed and gets on top of her again. He slides himself in and out of her faster and harder. They both start to scream out painfully as he penetrates her involuntarily. His hands slides up, wrapping her body and pulls it up against him.

They both start screaming out painfully as he penetrates her involuntarily. He rolls a blanket cover them. The blanket entwines them. They have sex in the same style for a minute.

Stefan penetrates her one last time as they both scream out so loud, displaying their painful climax of their sexual intercourse.

PF STEFAN  
(whispering)  
Was it fun?

PF ALLISON  
(whispering)  
Very fun. I need that more.

PF STEFAN  
(whispering)  
I think we will.

Then Stefan kisses her shoulder, smells it. It may be very fragrant for him. They fall asleep together. All this night, they may lie together on this small bunk.

DISSOLVE TO:

INT. ALLISON'S ROOM – DAY

ON PF STEFAN: he's asleep, alone in her room. Allison is gone. The digital clock says: "10.30 AM". Stefan opens his eyes, slowly sits up abed, looking and searching for Allison.

PF STEFAN  
Allison! Alise! Where are you?

He turns and finds a sheet of paper. THE NOTE FROM ALLISON. He grabs a note up and looks at it.

INSERT ALLISON'S NOTE.: The note says; I'm sorry about that, I know you don't want to have it that way. I don't know how to tell you but I really love you. I don't mind nationalities, religions or even races. Thank you for that last night. It was fun. I want it again. I'll be back in a few days. I got a mission from Connor and have to go. I hope that you'll wait. Love you-Allison...

PF Stefan quickly leaves the bed and rushes for his clothes.

**END OF ACT 2**

* * *

**ACT 3**

**(Real relation between Stefan and T-1001)**

INT. COLLAPSED HIGH RISE - NIGHT

TRACK THE GIRL'S FEET as she runs down the building, moving pass many stares of the ladders...she runs and runs only for her life. The feet of that terminator running close but she tries to speed up. Those steps with the voice of that girl which is like Allison's or Cameron's.

That girl runs down and crashes through the door and quickly grabs a plasma rifle which has laid on the first floor.

The girl turns, revealing she's PREVIOUS FUTURE ALLISON YOUNG...who turns and head-splats the endo, causing it fall onto the floor.

Allison lowers her gun and relaxes.

PF ALLISON  
Not today, Skynet. Not today.

Allison turns and walks away from that endo.

INT. PARKING STRUCTURE - NIGHT

This is a cavernous chamber, an old parking structure, in which a large group lives. Our camera patrols the perimeter, along a row of rusted CARS. He passes several family groups. Gaunt kids are huddled around an old TV SET.

REVERSE ANGLE reveals that the set has been gutted and a small cook fire crackles inside the shell. Nearby a kid has a LARGE RAT cornered and is whacking it with a stick.

We are getting deeper and we see a girl run into this structure with her plasma rifle. She's Allison who runs from another tunnel. She walks through the rear guards who have stood with dogs and she hands the group leader a paper. That leader just glances at it and looks up at Allison who has been waiting for the answer or response.

LEADER  
Okay. You bring a good word to us. Maybe I'm  
gonna go to check it for you, young emissary.

PF ALLISON  
Thank you.

The group leader walks off. Allison looks around. Then she sighs and glances at...

...the platoon who enters, Kyle Reese is there and there is no Derek. Kyle looks bored. Allison sees that he's coming but a voice calls her.

LEADER  
Emissary over here!

Allison turns away from Kyle who doesn't even notice her there. Allison leaves the area, follows the call.

PF KYLE REESE pauses at the end of the row of vehicles and unsnaps a pocket in his tunic, removing a small paper rectangle, a photograph.

C.U. - REESE gazing down. His head snaps around at the sudden sound of BARKING.

ANGLE ON SENTRY POST as the dogs go crazy.

SENTRY  
(shouting)  
Terminator!

An innocuous, RAG-DRESSED MAN: THE TERMINATOR FROM T1 flips back his poncho to reveal a powerful RSB-80. He opens FIRE, running forward. PLASMA BOLTS rip into the crowd.

MOVING WITH KYLE, running toward the Terminator.

INT. MEETING AREA – SAME TIME

Everyone here hears the sign and the battle which starts out there. PREVIOUS FUTURE NICK CORBIN, a US Navy officer with a plasma rifle, steps into the light, hurriedly. That leader quickly grabs the big RSB-80, shouting to other two men and Nick.

LEADER  
Protect this young emissary.  
She's very important. Go. Now.

NICK CORBIN  
Yes, sir.

PF ALLISON  
No, I can help.

Nick quickly grabs Allison's arm hard and shoves her toward those two men.

NICK CORBIN  
Go. Allison. Connor's plan must be done. Go.

Allison has to go even she doesn't want it at all. She nods, unwilling. The men take her to another small secret exit.

INT. TUNNEL – NIGHT

ALLISON and two men are running in the tunnel complex. They run for their lives and we also hear metal foot steps running after them. Plasma-blasts run after their feet as they run.

PF ALLISON  
We can't get through this exactly.

MAN #1  
Don't worry, Miss. You'll be safe. We swear  
with our lives. We're going to the bunker way.

They run. But two plasma shots come and blast those two men's left legs. They fall to the ground, causing Allison to worry about them.

MAN #2  
Go, Miss. You're too important to be captured  
or killed by them. Get out of here now. Now.

MAN #1  
Go now, Ms. Young.

The foot steps come closer in the distance. Two men worry about Allison who also worries about them.

MAN #1  
Go. Connor needs your words. Get out of here.

PF ALLISON  
Okay. Thank you.

Allison grabs plasma rifle and starts running. Those two men picks out hand grenades, pull the pins and put them down. And when the endos reach them, the grenades explode.

AT ALLISON as she runs and stops after she has heard the sound of the explosion. Allison sighs and continues her way.

An endo fist come and greet her in front, her necklace and her plasma rifle fall onto the ground and she bounces off against wall. The TOK-715 endo approaches. Its eyes glow red. Its height is about 5'6" or a bit shorter. The whole endoskeleton is thinner than other T-888s. It isn't designed to fight other machines.

TOK-715  
(female voice)  
Good evening, emissary girl.

PF ALLISON  
You damn machine.

Allison collects her strength, rises and quickly runs out of this way. The TOK-715 calmly runs after her.

As she runs, Allison draws her sidearm and fires.

TOK-715, is shot but nothing is useful. It runs faster.

Allison starts running faster and faster, running for her life. Allison runs pass the tunnel to other tunnel. A T-800 comes to block her way. It throws her against another wall and slowly walks to her.

The TOK-715 and the T-800 reach her.

TOK-715  
You're the emissary. Good to know.

TOK-715 grabs Allison and throws her toward another tunnel way. She falls onto the floor, collides with floor and metal piece. She quickly rises and runs across the way. She runs and turns, runs and turns...

And TOK-715's foot steps are running after her.

She reaches the heavy door. She collides herself against door, tries to open it. She finds the lock. She looks backward, sees the light and hears the foot steps. Her fear is increased. No weapons. She tries and successfully jerks the lock off.

Allison tries hard to open that heavy door. Her force isn't much like Derek, Kyle or other soldiers who can open it easily.

Allison runs out of this way.

EXT. BUNKER – CONTINUOUS

Slow motion, Allison runs out and stumbles onto a midden. She slowly rises, her hair covers her face. She takes breath. Looks bored. Very bored.

A net is shot from the inside bunker and catches Allison, causing her to fall onto a lime stone.

Allison tries to get free but she can't. She cries and screams like a common girl who is caught. Her hands and her fingers try to rip the net off.

The TOK-715 and the T-800 come and stand over her.

Allison's fear is increased. Her eyes roll around and she loses consciousness with tiredness.

INT. TUNNEL – HOURS LATER

PF STEFAN runs through the way and finds the blocked way. He quickly reaches out his arm, his telekinetic power attacks stones and blocks and clears the way for him.

Stefan runs pass and stops at the way TOK-715 had approached. Stefan's gaze roams down the way and sees the spot of the necklace he gave her.

PF STEFAN  
No! No! Not like that.

Stefan walks to that necklace and grabs it up, analyzing it. Yes...it's that necklace. Stefan's fear is up.

PF STEFAN  
Please wait for me, Allison. Please wait.

He throws it onto the floor and starts running again.

DISSOLVE TO:

INSERT SCENES FROM S02E04:

ALLISON YOUNG is sitting on a chair at a government-issue table. Cameron walks in silently and stops at the table, then puts many white plastic bracelets on the table.

Cameron : We found these on some of your friends. Why are you all wearing them? It has something to do with the Connor camp.

Allison : No.

Cameron : It's a pass to get in the camp. You were going to send me there without it. They would have known what I was. You lied to me.

Allison : I'll never help you get to John Connor.

Cameron squeezes Allison's neck. Allison dies and Cameron pulls

her bracelet out then wears it.

Cameron : You already did.

Cameron turns back and already leaves before Stefan enters very hurriedly.

PF STEFAN  
(anxious)  
No! Allison!

Stefan runs to Allison's body immediately then reaches toward the neck and checks the vitals with his fingers. Allison was dead.

Stefan falls to his knees, his eyes never breaking away from her. His face displays sadness. He looks suffering. His tears fall.

He inhales so hard, wipes all tears, keeps sadness inside his mind, and stands up. He gently holds her dead body up then runs out from the same way he arrived.

INT. PASSAGEWAY – MORNING

Stefan walks with her dead body and tears on his face. He slowly walks pass the passageway where many endos die there.

PF STEFAN  
(to the dead body)  
I love you too, Allison. I don't mind nationalities,  
religions or even races. I'm sorry. I'm really sorry.

Stefan loses his strength, he drops to his knees. His sadness is like he just lost everything in his world. It's no more. Stefan can't let it go easily, he really loves her. It's true love. He lost his mother, his aunt, his friends but no one whom he cries for like this.

He touches her face and her squeezed neck. His wrath approaches in his mind. Every object hovers up. He screams manly. THE SCENE WHITE OUT WITH A SOUND OF MASSIVE EXPLOSION.

BACK TO STEFAN'S BUNK IN THE FLASHBACK OF PF E. BOYKINS:

Stefan's tears are streaming through his face. On his hand, is the necklace he gave her.

PF STEFAN  
I'm sorry. I shouldn't be alive. I can't  
protect you. I can't protect my love.  
I never intend to let it be like this.

A LIGHT KNOCK on the door which quietly opens. T-1001-ALLISON enters and closes the door behind her. She just stands there, quiet, sympathetic, and contrite.

T-1001  
(Allison's voice)  
If you are like this, I can't be happy out there.

Stefan turns and finds Allison there. He rises slowly, agape.

PF STEFAN  
Allison. No, you aren't. You don't have soul.

T-1001  
You are very interesting, young psychic.

T-1001-Allison bends down and MORPHS back to be T-1001-GOODNOW. Stefan looks a bit angry but the thing that metal lady just did is for him. He sighs and looks at her, up and down.

PF STEFAN  
Hybrid system. Molecule computing, synthetic cells,  
quantum neural network working in each cell. Good.  
Interesting. You're mimetic poly alloy. What do you  
want from me, metal lady?

T-1001  
I'm here because John and John are dead.

PF STEFAN  
I know that. But I just don't know how. And I don't  
have to do anything. It's too late. I'm a psychic.  
I'm not a God. I can't destroy them by just thinking.

T-1001 glances at the box.

T-1001  
Nonsensical.

PF STEFAN  
I'm still human. I have sadness, happiness, weakness.  
I have mind, soul, feelings, meat, bones and blood.  
Nonsensical for you but it's not for me. She's so  
valuable to me. She's my wife, my love.

T-1001  
You won't get her back this way.

PF STEFAN  
Or you can?

T-1001 shakes her head.

T-1001 (cont'd)  
No. It's you who will change it. We both can.  
We have to join each other and help each other.

PF STEFAN  
Time Displacement Equipment.

T-1001  
Yes. And I have its data. I can teach you and maybe  
your creativity may can upgrade it as you wish.

PF STEFAN  
I'm sorry about John Henry. And thank you for  
your suggestion. Thank you very much, Miss...

T-1001  
Catherine. Catherine Weaver.

Stefan reaches out his hand. T-1001 considers it a few seconds before she takes it and shakes it friendly.

PF STEFAN  
Can you tell me why you can transform to be Allison?

T-1001  
I think you should get some sleep. I'll explain later.

They let each other go.

T-1001 smiles and rapidly silvers herself before she melts and flows out of this room.

PF STEFAN  
Yeah. I should get some sleep.

Stefan smiles more happily. It's useful; what that metal lady just said is useful.

BACK TO PRESENT:

INT. CATHERINE WEAVER'S OFFICE – DAY

Catherine Weaver's office is now on the last story of the Zeira Center where is former HQ during the battle against Skynet, where looks like an air-traffic control tower, but a few of screens now and bay windows showing the whole complex of the new Los Angeles city, and where used to be the porch of Zeira Corp. The whole of this room is redecorated to be an office.

PF E. Boykins and Sarah Connor are sitting on the sofa near one of those screens. They are waiting patiently. They both start to feel bored. Sarah sighs. She looks at him. This is very bored moment. She moves a bit closer him, befriends him.

SARAH  
Why are we here?

PF E. BOYKINS  
I have something to talk to her.

SARAH  
What?

PF E. BOYKINS  
Just talking. And you also have to learn more  
about this future. This is for you too.

SARAH  
What do you think about Allison who is alive?

PF E. BOYKINS  
(Off Sarah's look)  
She's my success. But she's still not Allison I  
knew, not Allison I loved. And she is wife to  
myself in this timeline. She's not my wife.

SARAH  
Thank you.

PF E. Boykins looks confused. He quickly turns to her.

PF E. BOYKINS  
What for?

SARAH  
Save my life and will take me to my son again.

PF E. BOYKINS  
In the timeline I came from, you ever helped me  
a lot. In fact, I should say thank you to you.

Sarah smiles friendly.

WEAVER (O.S.)  
Thought you both died before J-Day.

They both turn and finds CATHERINE WEAVER standing in the doorway. Weaver looks as friendly as a human.

SARAH  
Thought you were still a terminator bitch.

Weaver doesn't like that word. She doesn't like when people or a person call her with a "bitch". PF E. Boykins knows that as well. He quickly makes a squelch.

PF E. BOYKINS  
Hey! Weaver. Can you remember me?

Weaver loses interest from Sarah and gets attention at him.

WEAVER  
Stefan. Huh! You look older. In fact, you should...

PF E. BOYKINS  
Never age. I know. My mind power doesn't want that.  
My mind doesn't want that. I just use it to destroy  
things, not to improve my immortality.

WEAVER  
Your brain is still strong, isn't it?

PF E. Boykins smirks.

PF E. BOYKINS  
Thank you for asking me like that. It's still good.

WEAVER  
So you can find out where they are.

PF E. BOYKINS  
Yes. But your human people said that they need  
some time to rest. They may not want us to...

WEAVER  
Not like that. But we just wanna give them new  
IDs and I have something to talk to them.

Sarah notices their friendships. They may have a story together she still doesn't know.

TURN PAGE (PEEL) TO:

EXT. GRAVEYARD – EVENING

Previous future again; This is the same graveyard in S02EP21. The structures were destroyed by nukes and have since been reclaimed by nature. Cameron, Perry, PF Stefan and some soldiers are nearby a freshly filled-in grave.

All of them cry.

PF STEFAN  
If I were there with John, he wouldn't die.  
You did everything you could do. I understand.

CAMERON  
But it's not enough.

Stefan wipes his tears then gives Cameron a friendly smile.

PF STEFAN  
We'll do everything we can do for John.  
Please tell us what we can do.

Cameron nods.

CAMERON  
I think I understand how you felt like when  
you lost Allison Young.

She wipes her tears then turns to Perry with a friendly smile. Stefan releases his hand from Cameron's shoulder.

PF STEFAN  
John died. Allison died. Everyone one we love died.  
I think it's enough. Now it's me who will help you.

They both smile to each other again before they look back to the urn. Cameron tears as if she really were John's human girlfriend.

Stefan spots T-1001 who approaches. He leaves Cameron and walks to join her.

T-1001  
It's my fault. If I joined him,...

PF STEFAN  
No one could calculate the result of all this.  
Like timeline and the theory of the plastic time.

T-1001 smiles proudly.

T-1001  
Wow! You are a good student.

PF STEFAN  
When John sent Reese brothers back, he didn't  
told me about it. I understand now why.

T-1001  
Our forces have to reach it tonight. You first.

PF STEFAN  
What about you?

T-1001  
I'll follow.

T-1001 leaves him, goes to the south.

TURN PAGE (PEEL) TO:

EXT. TOPANGA CANYON - DAY

PF Stefan's hunkered down next to his communications tech with the huge backpack. Most of the rest of his team is there as well. PF Stefan's fingers are at his right temple.

PF STEFAN  
Just got the word. Hawk angel. Repeat,  
Hawk angel. On snap count. (beat) Mark.

PF Stefan lowers his fingers like he hangs up the phone.

PF STEFAN(cont'd)  
Okay. We move out in one minute. We are  
to draw in as many Hawks as we can.

SOLDIER #1  
What?

PF STEFAN  
I know. Seemed really good on paper. Get ready.

Even PF Stefan takes a deep breath for this bit of insanity.

EXT. TOPANGA CANYON SKY - DAY

AERIAL SHOT

On the ground from three separate areas, soldiers appear out in the open and start firing plasma rounds into the air. Six flights of three aerial HKs coalesce into triangle formations and begin to strafe the target-rich area.

TURN PAGE (PEEL) TO:

EXT. TOPANGA CANYON - EVENING

The remains of the squads join to make a squad of about seventy-five. They are concentrating their fire on the South Pine Center being defended by a few dozen humans, six HKs, and six endos. A few small forest fires rage in b.g.

T-1001 joins up with PF Stefan and Cameron.

T-1001  
Stefan. TOK-715.

CAMERON  
Hell of a fight.

PF STEFAN  
Cameron.

CAMERON  
What?

PF STEFAN  
Perry.

Cameron lets it sink in. She's stoic. Tears well in her eyes but none escape. Cameron turns her attention back to the fight.

PF Stefan slaps Cameron's shoulder sympathetically and exits to rejoin his men.

Cameron is very serious and focused as she carefully aims and hits what she shoots.

The air glows red.

CAMERON'S H.U.D.: The smaller, mortar-damaged of the two buildings has gone up in a MASSIVE EXPLOSION. Many of its defenders are down. Debris rains down.

TURN PAGE (PEEL) TO:

INT. TOPANGA TDE ROOM – NIGHT

The room is all about power: generators, transformers, etc. PF STEFAN stands on a platform. Cameron works controls with T-1001.

Stefan steps out from the platform.

PF STEFAN  
Okay, I understand that. I'm sorry  
about John and John Henry.

CAMERON  
Never mind. Are you ready? Hey! I'm sorry  
about your Allison.

PF STEFAN  
Never mind. Everything has passed.  
Okay. Again. Go to 1963 then what?

CAMERON  
Build up the vault within the bank, create a time  
machine, invent the rifle, and then come back. It's  
not hard. You will be the best engineer. I think  
this job is right for you.

Stefan smiles as he slowly steps back into the platform.

PF STEFAN  
Yes. It's not hard.

T-1001  
Are you ready?

PF STEFAN  
Do it.

T-1001 hits a button on her control.

An energy bubble forming around Stefan as threads of electrical discharge dance about. Just as Stefan and the energy bubble fade from existence:

FADE OUT.

**END OF ACT 3**

* * *

**ACT 4**

**(Son and mom join up)**

INT. ALLISON'S HOUSE – DAY

Cameron's in her study, trying to play some of her former repertoire of guitar compositions. John looks in and then keeps watching. Cameron is immersed in her playing, her eyes closed-she doesn't notice John. She finishes and suddenly turns around.

JOHN  
It was beautiful.

CAMERON  
No, It's not.

JOHN  
I don't know about that, it was beautiful.

CAMERON  
John, how long you've been watching?

JOHN  
Not long, maybe two minutes.

CAMERON  
When I stopped, I had this feeling you are  
watching. I felt your eyes in the back of my  
head. Is it normal? Is it about my mind?

JOHN  
Not only Stefan can answer, Cam but I also can.  
It's not just you, me too. Sometimes. Stefan ever  
told me that it was from the mind power your brain  
send out and when the mind wave hits object and  
reflects back to your brain again. And about your  
mind power, it wasn't that way. Stefan told us that  
it was just a misapprehension when you resurrected.

CAMERON  
Oh! You now are thinking like a psychic.

JOHN  
Yeah. Maybe. But you know that I can't be.  
My brain isn't like him and I'm distracted.

CAMERON  
Stefan ever said that it can be practice.  
Like our sexual intercourse. Oh! About our  
sexual intercourse. I really want to ask  
you something. Just a few things.

Cameron looks at him and a faint smile appears on her face.

CAMERON  
John, would you like to have children?

John is QUIET for 5 seconds, uncertain how to respond, and his face looks a bit older in that moment.

CAMERON  
Can I really have children?

John locks eyes with hers, smiles warmly.

JOHN  
Yes. You can.

CAMERON  
But we tried hard and always try hard. I'm not  
pregnant yet. I have my flow. But why now aren't  
we gonna have one of them as we want? I have seen  
that Stefan and Allison have two kids but we still  
don't have any children. Why, John?

JOHN  
I don't know, Cameron. It's not only us that have  
problems about conception or reproduction. These  
are one of those unsolvable issues. It's about both  
man and woman. Maybe this is my fault. My sperms  
mayn't be strong enough to enter your ovum.

Cameron's face bends.

CAMERON  
Why don't you think that it's mine?

John gently grabs both of her shoulders, rising her face up to look in his eyes. He shakes his head.

JOHN (cont'd)  
Because you're Allison's twin sister. Because you're  
her clone. You are the same as her. If she can have,  
you also can. And if it's not about you, it may be  
about me. Maybe I really have problems. Maybe I'm  
naturally barren or sterile. Maybe it's like that.

CAMERON  
No. John, you aren't.

JOHN  
Hope it's not. And you said that would I like  
to have children, right?

Cameron nods.

JOHN  
Yes. I want very much.

INT. ZEIRA CORRIDOR – DAY

Weaver leads Sarah and PF E. Boykins walking through the long corridor. Only two T-600 security units follow them.

WEAVER  
I have my individual car. It's fast enough.

SARAH  
Hope that it's really fast like you said.

WEAVER  
I confirm.

Weaver quickly MORPHS to be a Chinese officer just before they turn to another corridor. Now we see two people walk pass them.

CHINESE OFFICER  
We have to keep our identifications safe.

SARAH  
Why?

Then they turn left. That officer MORPHS back to be Weaver again.

INT. 4TH FLOOR – DAY

The elevator reaches this floor and the elevator door opens, Weaver, PF E. Boykins and Sarah Connor get out from it. And they continue walking in a corridor.

WEAVER  
There are many things you will learn, Connor.

And one door in front opens. RILEY DAWSON(S02E02) exits. Sarah walks slower. She's agape as Riley walks pass. Sarah turns back in the direction Riley walks to. Confusion is in her brain for awhile...before she can realize it.

PF E. BOYKINS  
You know she's not.

SARAH  
Who's she?

PF E. BOYKINS  
Riley. That's her name. At first, she didn't have  
a name but her adoptive mother called her 'Riley'.

SARAH'S POV.: Riley gets in the elevator. She turns, sees Sarah. She smiles friendly before she puts on button and looks skyward. The elevator door closes.

PF E. BOYKINS (O.S.)  
Sarah, we have to go.

Sarah turns and gives him a small smile.

SARAH  
Yeah, let's go.

WEAVER  
There will be a lot more surprises.

INT. WEAVER'S SPECIAL PARKING – DAY

Weaver, Sarah and PF E. Boykins enter the parking zone where is exactly Weaver's. This has open porch, one CAR is here. Yes,...

WEAVER  
It's not exactly a car at all.

It's the future car. The design still looks like a car but it's parked on a platform which isn't normal. It has no wheel. The chains are hoisted back up into the ceiling. Two T-888 endos are checking it. One of them finishes its job and joins Weaver.

T-888 #1  
(male voice)  
It's ready, sir.

WEAVER  
Good, officer. I'll give you skin as reward soon.

T-888 #1  
Thank you, sir.

Weaver looks at another T-888.

WEAVER  
You too.

T-888 #2 puts on a green button and turns to Weaver, eyes flash blue light.

T-888 #2  
Thank you, sir.

Weaver turns to Sarah and PF E. Boykins who have been behind her.

WEAVER  
Don't ask that who will drive it.

SARAH  
Definitely you.

WEAVER  
Yes. I'm always good at it.

SARAH  
Please shut up.

EXT. GARDEN – AFTERNOON

E. Boykins is sitting on his wheelchair, alone in the garden where strawberries are all harvested and summer fruits and vegetables are gonna luxuriate. Roses, jasmines, Rauvolfia serpentine and other kind of flowers make this garden fragrant and as snug as a bug in a rug. E. Boykins looks skyward, closes his eyes and soothes his mind.

CLOSE ON E. BOYKINS as wind starts to blow his face. He slowly inhales deeply and exhales as deeply as his inhalation. His face looks happier than he was before. He controls his breathing to be normal, keeps it slow but not too slow, and not too fast. Everything is in the middle way.

FULL SHOT

Wind blows against his face. But he's like a statue.

CROSS SHOT OVER E. BOYKINS.: Allison exits the house through backdoor and stands still in front of the door, looking at him as both of his mind and his body are calm and peaceful. Allison smiles happily and starts walking toward him.

Allison always tries to keep her steps as light as nothing paces in the direction of him.

LOW ANGLE and FALL BACK every step Allison paces, her rubber slippers pace onto grass.

BACK TO E. BOYKINS: She's now about six meters away from him. And then his ears pick up. His eyes still keep close. He smiles, knows as well that she's near.

Allison, still keeps her steps light. She can reach him in a few seconds after that.

And as she is gonna touch his shoulder,...

E. BOYKINS  
You lose, Allison.

Allison laughs happily.

ALLISON  
How long have you known that I'm around here?

E. BOYKINS  
For seconds. Since you exit the house. Your steps  
haven't been light. I'd heard them every time you  
paced on grass. And you step very frequently.

Allison exhales. E. Boykins opens his eyes.

E. BOYKINS  
I tire you?

Allison walks to front of E. Boykins.

ALLISON  
No. I just envy you.

E. BOYKINS  
Why?

ALLISON  
You are a psychic. You can control things without  
moving or commanding. You just stare and get your  
concentration at it and it'll move as you think.

E. Boykins laughs.

E. BOYKINS  
That's not what you should envy me, Allison.  
Your brain can be trained for telekinesis.

ALLISON  
Basically?

E. BOYKINS  
What about the black cape?

ALLISON  
I got pass all tests.

Allison kneels down in front of him, looks up at him and tries to adjure by her eyes.

ALLISON  
Please tell me how I can do it.

E. BOYKINS  
Okay. Okay. Stand up.

Allison stands. E. Boykins holds her arms in his fists softly.

E. BOYKINS  
Allison, you have to understand. It's up to your  
concentration. If you aren't ready, this skill  
will be very high for you. Basic telekinesis  
can just extinguish a candle and build a basic  
mind power ball in your fists.

Allison bends her face down in a fake sadness.

ALLISON  
So I can't.

E. Boykins laughs at her.

E. BOYKINS  
No. I didn't mean you couldn't. You just have to  
train hard. And train it so hard. Don't forget this.  
Telekinesis isn't just from your good brain but it's  
also from your good concentration. My mind power was  
just a bit at first. But my own little power unlocked  
the latent power of my brain. Now it's normal for me  
to use it creatively as I want.

ALLISON  
You ever told me that you wanted to delete it.

E. BOYKINS  
The strong brain can receive mind network data  
which was sent out by human brain. And it is  
sent out every time you think. At first it went  
across your parts then it spread to everywhere.  
And maybe nothing can stop it. Just maybe. I still  
never test how to protect mind not to get into  
other human brain with other kinds of power or  
elements. Only mind power can block it now.

Allison nods, understands it.

ALLISON  
So if I train not hard enough, everything  
I do, will be only useful to my own body.

E. BOYKINS  
You can think so.

Allison turns away from him, looks around. She likes this moment very much. Green nature and oxygen around make her body and her mind pleasant. She blows the cobwebs away, leaves her nerves behind, closes her eyes and relaxes her mind.

E. BOYKINS  
How do you feel?

ALLISON  
I know now why you always stayed around here  
when our son fell asleep. Fresh air. Clear.

E. BOYKINS  
This time, can you see the way?

Allison opens her eyes, as if she just enlightened.

E. BOYKINS  
Now you get closer the secret power of telekinesis.  
This is important, sweetie. If your mind and your  
body are like this every time, maybe you will have  
your telekinetic power enough to limber spoons.

ALLISON  
It'd been like a space when I closed my eyes.

E. BOYKINS  
Someone is coming. I think we should prepare.

That gets her attention.

ALLISON  
What? You got it back?

E. BOYKINS  
Oh! Allison. I have got my mind power back for  
a long time. But it's not much as before. Not  
enough. My body and my own mind are now working  
together like co-operators to get it all back.

ALLISON  
So I should say: congratulation. Congratulations!

E. Boykins grins.

E. BOYKINS  
Thank you.

INT. KENNEL - EVENING

Cameron sits at a table, cleaning her field-stripped plasma rifle. There is one DOG in the stables-like kennel, who retrieves a ball-like-thing and bringing it to Cameron.

Absently, Cameron takes the "ball" and tosses it to the other side of the room, prompting the DOG to chase after it to repeat the process.

John stands in the doorway.

JOHN  
He likes you.

CAMERON  
Yes. And I know now why some humans love dogs.

She tosses the ball-like-thing again.

DISSOLVE TO:

INT. KITCHEN - ALLISON'S HOUSE – NIGHT

Allison, Cameron, John, E. Boykins, MARCUS YOUNG and KYLE REESE sit on their seats enjoying their big family set supper on the table while NEVLIN GLAU keeps watching near the window.

E. Boykins cuts a small piece from baked turkey and scoops it to Allison's plate and she always responds mincingly.

ALLISON  
Thank you, Stefan.

E. BOYKINS  
You need protein for your brain.

Then they continue their supper. Everything looks good and peaceful. But the DOORBELL CHIMES. Nevlin suddenly turns. Everyone looks at him but Nevlin looks at E. Boykins who gives him a confirmation nod.

The DOORBELL CHIMES.

NEVLIN  
Be here. I'll watch.

Nevlin leaves them.

INT. ALLISON'S HOUSE – NIGHT

The DOORBELL CHIMES AGAIN. Nevlin walks across the hall toward the door and opens it. SURPRISE! Sarah Connor, Catherine Weaver and PF E. Boykins visit this house.

WEAVER  
Good evening, Mr. Glau. How do you do?

NEVLIN  
Good evening to you too, Ms. Weaver.

Weaver starts to introduce Sarah and PF E. Boykins.

WEAVER  
This is Sarah Connor and this is previous future  
self of Warapop Pichitchai. E. Boykins. Stefan.

Nevlin reaches out his hand.

NEVLIN  
(to them)  
Nice to meet you. Nevlin Glau.

Sarah takes it first and shakes it. But then Sarah quickly releases it. Her face shows stunned.

NEVLIN  
What's wrong, Ms. Connor?

SARAH  
Metal?

NEVLIN  
Yes. I'm the first reprogrammed.

But Sarah's attention is gotten by John's voice.

JOHN (O.S.)  
Who's come, Glau?

Sarah can remember his voice even it's older...and she won't forget it. It's the voice she hasn't heard for a long time, its owner is the one who she always wants to see.

The trio enter. Sarah slowly steps in. And...

John exits the kitchen and faces his mom. BOTH SARAH and JOHN lock eyes. Mother and son. Protector and hope.

JOHN  
Mom.

Cameron gets out from the kitchen then.

CAMERON (cont'd)  
John, who's come?

Cameron turns and also faces Sarah who gazes THE RINGS ON EACH JOHN'S AND CAMERON'S FINGER, they're wedding rings. She almost can't believe this at first.

CAMERON  
Sarah.

Cameron's gaze roam to PF E. Boykins. She smiles friendly. He smiles back. John doesn't interest in both Cameron and PF E. Boykins. He looks at his mom. His tears are streaming down with happiness. Also does Sarah.

SARAH  
John. It's been very long.

Sarah stretches her arms.

SARAH  
I think you should hug me, John.

John smiles very very happily. He quickly gets into her warm embrace. It's the embrace he has always wanted. And now he gets it from his mom again.

JOHN  
I'm sorry, mom.

They separate.

SARAH  
Nothing you have to be sorry about. Besides  
I'm so proud of you. Weaver told me a lot  
about you...you and Cameron.

Sarah looks at Cameron who gives her a warm smile. Sarah smiles back. This is the first time Sarah gives Cameron a valuable smile like that, it's really the first time.

SARAH  
You are human?

CAMERON  
Not at all. My human endoskeleton is enameled by  
the new chemical name Kalibaium which is commonly  
known as Adamantium. I'm still a scary robot.

SARAH  
Scary robot. I don't think so.

E. BOYKINS (O.S.)  
We're all happy to see you here, aunt Sarah.

The trio- Weaver, Sarah and PF E. Boykins turn and find E. Boykins and Allison in the doorway of kitchen. E. Boykins is still sitting on his wheelchair.

WEAVER  
Good evening, Stefan, Allison.

SARAH  
Good evening.

Sarah seems not to be surprised when she sees Allison. She may know it already. But movement behind them catches Sarah's attention. It's Kyle. It seems like Sarah's heart soars and she lets out a small smile at us, at the sight of Kyle Reese who walks out of the kitchen and faces her. Kyle is stunned/dumbfound. He never thought that today he might see the real woman he falls in love when he watches the picture. She was his lucky charm but now the picture becomes real. His dream becomes real. He is meeting her now, facing her now. Everyone looks at them.

SARAH  
Kyle.

KYLE  
Sarah.

This is the good evening of this big family. But why Weaver has taken them here. She may have her reason. We're gonna know it.

DISSOLVE TO:

INT. LIVING ROOM – NIGHT

Allison, E. Boykins, PF E. Boykins and Weaver sit in the living room. Nevlin gets in and serves them glasses of water.

E. BOYKINS  
So what's your business?

ALLISON  
Why are you here, Cath?

Both PF E. Boykins and Weaver look at each other.

PF E. BOYKINS  
You should tell him like you told me. But I  
still confirm that Dr. Art-ong can be trusted.

WEAVER  
Okay.

Weaver turns to E. Boykins and Allison.

WEAVER  
Okay. Stefan. We have new IDs for you and this whole  
household. And I have two new missions for you. Only  
you can do it. I can't find others. If I could find  
others who understands human mind as well, I wouldn't  
be here. I might start at that one.

E. BOYKINS  
You have had one.  
(indicates PF E. Boykins)  
Him.

Allison glances at PF E. Boykins.

E. BOYKINS (cont'd)  
He's my previous future self. He can do it.

And that's what Allison never knew. Allison is agape but she can realize it. Something also distracts E. Boykins' mind when she looks at that PF E. Boykins. Allison can feel it, she looks at him and that also console PF E. Boykins who doesn't want to destroy the relation between this Allison and this his younger self. He restraints his mind already. Weaver has thought and learned E. Boykins' attitude for a few seconds.

WEAVER  
He isn't like you, Stefan.

E. BOYKINS  
No. He looks more powerful and he may can  
control the phoenix form of mind power.

WEAVER  
No. He doesn't train it. And I need more  
than one psychic for these two missions.  
We want to make it as fast as we can.

ALLISON  
So what are the missions?

E. Boykins quickly looks at her. He couldn't believe that she might say it herself.

E. BOYKINS  
What?

ALLISON  
You have to do it. We have enough time to travel  
to your land. Maybe if you make it fast, we may  
can go abroad this weekend. Finish this job and...

Allison leans closer and whispers something into his ears. We don't know yet. But we can assume from his expression. It can be about something husband really wants from wife. Allison leans back. He nods assent and smiles gladly.

E. BOYKINS  
That's worthy, sweetie.

ALLISON  
Yes. And this is deposit.

Allison leans again and kisses him. Their lips just touch each...they don't deepen it yet because they are interrupted by Weaver's fake cough.

WEAVER  
I heard it. I think you both should see  
these files before you call the shots.

Weaver hands E. Boykins an USB 3.0 flash drive. E. Boykins looks at PF E. Boykins.

E. BOYKINS  
"You read it already?"

PF E. BOYKINS  
"Yes. It's not a hard mission. But other  
humans and machines can do it. Just us."

E. Boykins uses his telekinetic power to send that flash drive toward his desk where has a personal computer with many devices there. His mind turns on the computer. He turns back. Weaver and PF E. Boykins both have stood. Weaver puts a thick folder onto the coffee table and smiles.

WEAVER  
The IDs. Good luck to both of you. And happy birthday  
to your new baby. Good bye and see you again tomorrow.

They leave the couple.

Our camera moves over and looks down to watch the paper folder closer and more clearly. New stories are getting into their lives. It's now gonna have more interesting story.

FADE OUT.

**END OF ACT 4**

**THE END**


	3. EP03 : Away to the South

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**Terminator:  
The Across Time Chronicles**

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**F05E03**

"**Away to the South"**

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**Written by  
Stefan1994**

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This document is fan-produced fiction based on the television series, Terminator - The Sarah Connor Chronicles, and a fan-made season of fan fiction, F03 and F04 Terminator - The Resistance Fighters Chronicles, written by Stefan1994, eyeshieldTe and Mario28. This is done in spirit of fan fiction, to have fun and enrich the total fan experience beyond the limitation of the original story vehicle. In that spirit, and holding to the long tradition of free promotion. This story is being made available to the show fans for entertainment purposes.

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* * *

**TEASER**

THE SOUND OF DRUMS, from a great distance, growing louder.

WE OPEN ON:

WE ARE FLYING through mist, a dimly glimpsed South America forest near Uruguay river below.

ALLISON (V.O.)  
In the 18th episode of The Wonderful Wizard of Oz,  
Dorothy wept bitterly at the passing of her hope  
to get home to Kansas again; but when she thought  
it all over she was glad she had not gone up in a  
balloon. And she also felt sorry at losing Oz, and  
so did her companions. The Tin Woodman came to her  
and said: "Truly I should be ungrateful if I failed  
to mourn for the man who gave me my lovely heart.  
I should like to cry a little because Oz is gone, if  
you will kindly wipe away my tears, so that I shall  
not rust." "With pleasure," she answered, and brought  
a towel at once. Then the Tin Woodman wept for several  
minutes, and she watched the tears carefully and wiped  
them away with the towel. When he had finished, he  
thanked her kindly and oiled himself thoroughly with his  
jeweled oil−can, to guard against mishap.

We are very low over the forest now, gliding fast, the drums

BUILDING to a PEAK-

ALLISON (V.O.) (cont'd)  
The Scarecrow was now the ruler of the Emerald City,  
and although he was not a Wizard the people were proud  
of him. "For," they said, "there is not another city in  
all the world that is ruled by a stuffed man." And, so  
far as they knew, they were quite right.

FADE TO:

EXT. ALLISON'S HOUSE – MORNING

STANDING AT THE CAR NEAR THE HOUSE are CATHERINE WEAVER and PF E. BOYKINS who have been waiting... JOHN CONNOR, CAMERON CONNOR, SARAH CONNOR, MARCUS YOUNG and NEVLIN GLAU stand away behind the fence. ALLISON PICHITCHAI and E. BOYKINS are at the gateway of the house. Allison doesn't want to let him go at all. E. Boykins wants to stand much but he still can't control his leg to do it.

ALLISON (V.O.) (cont'd)  
The morning after the balloon had gone up with Oz,  
the four travelers met in the Throne Room and talked  
matters over. The Scarecrow sat in the big throne  
and the others stood respectfully before him.

E. BOYKINS  
I'll come back as fast as I can.

Allison's tears stream down from her eyes. E. Boykins pushes his wheelchair forward, gets closer and wipes her tears with his hand. His eyes look in hers with love.

E. BOYKINS  
Don't cry. I just go for awhile. And I'll be  
back fast. We'll go for vacation after that.

ALLISON  
So I'll have time to make you more surprised.  
But this is very important, Stefan. I'm sure  
I can find the wonderful gift for you. I think  
it'll be the first time I give you birthday gift.

E. Boykins smiles warmly and fondles her cheek.

E. BOYKINS  
You've been my birthday gift for many years, Allison.  
I never want anything else. Only one I want is love  
from you. I love you so much, my best birthday gift.

ALLISON  
I have to give you something.

Allison looks down at her neck. It's the locket he made and gave her, the one he'd made and sent it to her through Weaver a few years ago. And now it's three years anniversary of that largess. Allison puts it off and puts it on him.

ALLISON  
Kiss on it when you wanna kiss me. Touch it when  
you wanna touch me. Please keep it with you. It's  
my stand-in. Please think that I'm always with you.

E. Boykins touches the locket.

E. BOYKINS  
You gave it back to me. Okay. Allison.  
(looks up to see her)  
I'll keep it with myself all the time.

Allison leans closer him.

ALLISON  
(whispering)  
Can I kiss you?

E. Boykins smiles, seizes her face close, pulling her into a kiss. They keep the kiss hard. He gives her a consecutive control of the kiss as their lips slide and suck at each other, the tip of his tongue fencing with her until he grants it access to his mouth where they wrestles in a sensuous massage. One of her hands worms into his hair, cupping the back of his head and he mirrors her action. His fingers find her hair, lustrous, soft and silky as they slide through it. This is awhile before he breaks it.

E. BOYKINS  
Good bye and see you again.

ALLISON  
Good luck, Stefan.

E. Boykins turns his wheelchair, causing his face off her look. She pauses for a few seconds as Weaver and PF E. Boykins lead him toward the car.

ALLISON  
Stefan!

E. Boykins turns to see her.

ALLISON  
What can I tell him when he wakes  
up and doesn't see his father?

E. BOYKINS  
I'll be back with new toys for him.

ALLISON  
Okay. Just this. Bye.

E. BOYKINS  
Bye.

E. Boykins turns back and pushes toward the car where PF E. Boykins has already been on it. Weaver carries him up and sends him into the car.

Allison looks happier, she waves him away and blows a kiss. Marcus walks toward her and puts one of his hand onto her shoulder.

MARCUS  
He's a strong soldier. He'll be back.

ALLISON  
I'll have missed him.

MARCUS  
You have us. We'll help you taking care of  
your kids. What do you think, Allison?

Allison turns to Marcus. He took care of her boy when she went to battle Skynet with her husband. Now she thinks that it's improper. She smiles.

ALLISON  
Thank you, daddy. But I should take care  
of them both myself. I am their mother.

MARCUS  
But you'll be still tired. You are still  
woman. I think I should help you as well  
as I ever helped you doing your homework  
or taught you how to draw a portrait.

Allison smiles again.

ALLISON  
Daddy, can you help me more than that?

MARCUS  
What?

ALLISON  
I'll tell you later.

INT. DR. ART-ONG'S OFFICE – MORNING

The large office definitely belongs to a designer. There is a model of a SPACESHIP, a design from the spaceship that we saw on Mars in F04E09.

There is a bank of networked computers...their guts open for the world to see. Sort of reminiscent to Andy Goode's first Turk. DR. ART-ONG JUMSAI NA AYUDHAYA sits at a large drafting table working on some component design.

SAMUEL BARTON(F05E02) dressed in BDUs, KNOCKS, enters.

SAMUEL  
(in Thai)  
"Good morning, doctor. You're so diligent."

DR. ART-ONG  
You can speak English to me, Samuel. Your system  
first was designed to speak English better than  
other languages. Speaking English will be better.

SAMUEL  
Okay. Doctor.

DR. ART-ONG  
Can you just help me for this design?

SAMUEL  
As you wish, doctor. But...wait...you have breakfast?

DR. ART-ONG  
Not yet. Maybe better if you make it for me.  
This thing is just freaking me out. Better if  
a cyborg make me my breakfast this morning.

Samuel smirks.

SAMUEL  
You're gonna eat food from the best chef here.

DR. ART-ONG  
I'm looking forward to have it. You can go.

SAMUEL  
Yes, sir.

Samuel gets out.

EXT. MUTANT FOREST – DAY

FLYING OVER A LANDSCAPE of massive cliffs and towering mesas carpeted in rainforest. Great scarves of cloud swirl around the mesa tops. A primeval landscape, vast and forbidding.

The trees are alien, the color too cyan. There are waterfalls, rivers, and distant flocks of WINGED CREATURES. They're all mutant creatures, the by-products from nuke.

And beyond the forest is the HUMAN COLONY-

EXT. HELL'S GATE – DAY

**HELL'S GATE **is a cluster of squat concrete and steel structures surrounded by chain-link FENCE 10 meters high, topped with razor wire. At the corners are towers with automated SENTRY GUNS swiveling on servo mounts.

Visible beyond the gun towers, the HELICOPTER roars in across the treetops. VECTORING NOZZLES change angle, bringing the helicopter to a SLOW HOVER.

EXT. MUTANT FOREST – DAY

Through a screen of jungle canopy, we see the VALKYRIE thunder overhead. Camera TILTS with it until leaves block the view.

AN ENDO HAND reaches INTO SHOT.

REVERSE - ECU of two electric red eyes.

EXT. HELIPORT – DAY

The door of the helicopter opens, revealing E. Boykins, PF E. Boykins and ten muscular Zeira soldiers. PF E. Boykins jumps onto port with foldable wheelchair. He unfolds the wheelchair and helps E. Boykins getting onto it.

WE PULL OUT, revealing a squad of South America soldiers who have been watching them. They all look a bit disappointed.

Zeira soldiers, E. Boykins and PF E. Boykins move to see COLONEL GUSBELL CHARKEY- a battle-harden soldier who has come from the main building to greet them. His bodyguards come after his back.

COL. CHARKEY  
Welcome to Uruguay resistance base, gentlemen.

E. BOYKINS  
Don't say what you think, Colonel Gusbell Charkey.  
Seen a lotta guys leave this place in a wheelchair.  
Never seen anybody show up in one.

With that, Col. Charkey who has smiled mordantly changes his look to be serious and confused.

COL. CHARKEY  
How can you...?

PF E. BOYKINS  
Colonel, we're here because Weaver told us that  
you want human troops not machines. I think we  
both can answer your wish. So please don't pick  
us because of your dislike. We are here because  
you have killed our machines.

COL. CHARKEY  
They're machines. They kill. That's what they do.  
So we ought to be careful. We have to kill them.

PF E. BOYKINS  
But not every machine want to kill humans.

Col. Charkey smiles satisfyingly.

COL. CHARKEY  
Okay. What's your name, old man?

PF E. BOYKINS  
Same as one on wheelchair.

Col. Charkey looks more confused but he does as told. E. Boykins gives him a friendly smile and reaches out his hand.

E. BOYKINS  
My name is Warapop Pichitchai. My nickname is Stefan.  
Some Americans and Asians usually call me E. Boykins.

Col. Charkey is now stunned. Some people behind him start to whisper discussing and rumor.

COL. CHARKEY  
Pardon me?

INT. KITCHEN - ALLISON'S HOUSE – DAY

Everyone looks at their new ID cards on the table. Those cards look modern and some part of it have sensors and transmitters. There is a small LED display on each card where shows their basic personal data. There is a connector on one end of each. And also it says about their budgets too. They all have about 2,000 ZEITECH dollars in credits.

MARCUS  
This is very good. The whole can be used not just the  
ID but also a credit card. What about Zeitech dollars?

NEVLIN  
Weaver told me. One equals 2 US dollars.

SARAH  
I really don't like that it also has transmitter on it.  
I hate it because that metal couple can find where we  
are staying at so easily. If someday those AIs want to  
kill us. They can do it easily.

KYLE  
I think like Sarah. This won't work as well.  
Besides, what if we lose our ID cards?

Kyle gets Sarah's interest with that.

NEVLIN  
Everything always has two ways, Mr. Reese,  
Ms. Connor. Everything has usefulness and  
wicked things. We may have to restraint our  
minds to understand it.

That's right. And they all think about it for awhile. Allison can't think about this much, she grabs her ID card and exits. Only one thing she has thought about is all about her husband. Cameron, Sarah, John and Marcus look after her. Cameron sighs and walks after her. The rest look back at their ID cards again.

JOHN'S POV.: That's the point; the connector of these cards.

JOHN  
I think I got an idea.

Eyes gaze at John. Nevlin can understand it fast. He smiles subtly. John and Nevlin know as well what to do.

SARAH  
Can you explain?

JOHN  
It's easy, mom. It has a connector. We can program on it  
and change its rules. We can decide it not to send our ID  
information back to the system when we don't want.

MARCUS  
How long?

JOHN  
I need only a few hours.

NEVLIN  
Maybe a few minutes if we have a computer with 775.  
Activate my CPU on it and I can reprogram the cards.

Sarah still doesn't trust Nevlin. She quickly responds.

SARAH  
Why do we have to trust you, metal.

NEVLIN  
Because everyone here excepting you trusts me.

John gives Sarah a look which can change her mind. Sarah thinks about it and has to agree. But she has a question.

SARAH  
Are you sure you can?

NEVLIN  
I'm very sure.

Now Nevlin's expression is self-confidence.

INT. SECRET MEETING ROOM – DAY

Col. Charkey ponders images an officer has called up at her workstation-science graphics of the Uruguay work camp. The camp looks alien in the large glade other side Uruguay river miles away in the south. E. Boykins and PF E. Boykins are crowded around as well.

COL. CHARKEY  
What do you think, Mr. and General Boykins?

PF E. BOYKINS  
It's like some kind of modern facility.

COL. CHARKEY  
The factory still works but not an automatic  
tools as before. However, the whole work camp  
is still strong with many Ogres and T-888s.

E. Boykins makes a clicking motion with his thumb.

E. BOYKINS  
There are many towers around with cannons.  
But it also has weakness. We can destroy it  
by all men we have. One shot tonight and we  
won't lose people to them again.

COL. CHARKEY  
So you can lead us to win?

E. Boykins puts his finger on the picture of that work camp, spins it around and the picture flaps about, doing so with a confident expression on his face.

E. BOYKINS (cont'd)  
How can my eyes say, Colonel?

COL. CHARKEY  
Our force will be ready this evening.

Col. Charkey walks off. E. Boykins and PF E. Boykins both look at the picture as it stops flapping about. Smiles on their faces can express their happy and confidence like a grandpa and a grandchild are gonna fight shoulder to shoulder.

* * *

**ACT 1**

**(Knitting with love)**

INT. KIDROOM – DAY

Allison and Cameron are sitting abed, looking at SITTIPONG PICHITCHAI who is still asleep.

ALLISON  
I don't know what has been happening, Cam.  
But I still felt something strange when he  
went out today. I'm afraid of it.

CAMERON  
It's just he goes away to the south and  
is gonna do a mission for human race.

ALLISON  
I don't want to see anything happen to him.  
I can't stay here, Cameron. I think I has to  
follow him and live beside him.

CAMERON  
He's good soldier. They're good soldiers. He never  
surrenders to machines. I think he'll be okay. Maybe  
he may get back home tomorrow.

ALLISON  
Will you come with me?

Cameron suddenly looks at Allison.

CAMERON (cont'd)  
Go. Where?

Allison looks at Cameron.

ALLISON  
I can't stay here if he's out there and I can't  
know what is gonna or is happening to him.

CAMERON  
What about them?

ALLISON  
I'll take them with me.

CAMERON  
So what about me?

Like beloved sister, Cameron stares in Allison's eyes with sisterly love, trust, friendship, family relation and sympathy. Allison can tell that it's all human. Allison leans closer Cameron and gives her a sisterly hug.

ALLISON  
Please don't...

CAMERON  
Can I go with you, sis?

They separate. Allison stares hard in Cameron's eyes. And then she shakes her head.

ALLISON (cont'd)  
No. John will be upset. You have your  
family. It's my family. I can manage it.

CAMERON  
But we're family. This is why we all stay in the  
same house, this home. Why we build and live here.  
Why we let each other do everything as thinking.  
John is my husband. You're my sister. So we're  
family. You told me. We're family, we face good  
future together so we should face bad future  
together too. We're family.

ALLISON  
What if I want you to stay here? I insist you that.

Cameron thinks about it.

INT. ZEIRA CENTER, LUCY'S LAB – DAY

JOHN HENRY sits on a couch and EMMA "LUCY ANN" HENRY pulls a small box from her desk drawer.

LUCY ANN  
I need to install something into you.

JOHN HENRY  
What do you want? Why do I have to let you do it?

LUCY ANN  
I know now you are stronger than anyone here  
but I have a new technology for you. It'll  
give you more powerful than you ever were.

JOHN HENRY  
What is it for?

LUCY ANN  
The power to manipulate the Earth's electromagnetic  
fields to achieve a wide range of effects. You may  
can move metal object by this new device. It can  
upgrade your synthetic electromagnetic mind power.  
Now it can be controlled and is easier to access.

JOHN HENRY  
Like telekinesis?

LUCY ANN  
It's like that. But I don't know that can your  
system access all functions of this device?

Lucy Ann sits beside him.

JOHN HENRY  
Can you access all?

LUCY ANN  
Yes. And the primary application of this device's  
power is control over magnetism and the manipulation  
of metal. We still can't give machines the power  
of controlling other kinds of objects which is  
nonferrous. Only real human mind power can do it.

JOHN HENRY  
Humans can overclock their brains to be more than  
they ever were. They all can be more intelligent  
than machines or even Skynet or even us.

LUCY ANN  
Just try this and we'll talk later.

JOHN HENRY  
Okay. But you have to shut down my system.  
We have to turn on it later. To be sure that  
this device can be completely under my control.

LUCY ANN  
So please turn into your standby mode.

JOHN HENRY NODS. And then his skin silvers and flows back into his MPA glands around his endoskeleton. Lucy Ann waits until all his mimetic poly alloy disappears into the glands. John Henry's eyes which have been blue, now they dim and become darkness like he's deactivated.

LUCY ANN  
Let's start.

INT. ALLISON'S HOUSE – LIVING ROOM – DAY

John is browsing through library files, marking up files for reading. He seems to be completely absorbed in the activity. Nevlin enters and stands beside John, watching him.

JOHN  
Are you ready, Glau?

NEVLIN  
I think I'm ready. And you?

JOHN  
This screen is very interesting.

NEVLIN  
IBM began building the first touch screens in the  
late 1960s, and, in 1972, Control Data released the  
PLATO IV computer, a terminal used for educational  
purposes that employed single-touch points in a 16  
times 16 array as its user interface.

John smiles and starts to giggle.

JOHN  
Aha! I know about that.

NEVLIN  
In 1983, Bell Labs at Murray Hill published a  
comprehensive discussion of touch-screen based  
interfaces. In 1984...

JOHN  
They engineered a touch screen that could change images  
with more than one hand. In 1985, the University of  
Toronto group including Bill Buxton developed a multi-  
touch tablet that used capacitance rather than bulky  
camera-based optical sensing systems. What else?

NEVLIN  
A breakthrough occurred in 1991, when Pierre Wellner  
published a paper on his multi-touch "Digital Desk",  
which supported multi-finger and pinching motions.

John shows Nevlin the touchpad.

JOHN  
This is more interesting. Its materials are black  
aluminosilicate glass and stainless steel.

NEVLIN  
This technology first was released on June 24, 2010.

JOHN  
And that's what I may learn about later.

John looks down at his pad and turns it off. Walks towards his being-charged laptop in a corner.

TIME CUT- Nevlin lies onto the sofa. Cameron, Marcus, Kyle and Sarah are already in the living room, looking at John's activity.

TIME CUT- C.U. NEVLIN'S HEAD, John opens the cut flap, accessing the port cover.

TIME CUT- C.U. JOHN'S HAND as he pulls the chip out.

John takes a breathe and looks around.

JOHN  
He's ready.

WE WHIP PAN TO SEE an interface molecule on the table. John steps toward it and plugs the chip into the interface on a slot. Cameron turns on the laptop screen. The rest come to watch.

CAMERON  
At first, we should...

JOHN  
I know what to do, Cam. I'll ask you if I need help.

John hits on a couple of keys. The screen shows two new pop-up applications which will be used to access Nevlin's CPU.

CAMERON (cont'd)  
I'm sorry.

JOHN  
What for?

John turns, looks at her. She looks like a girl who just botched.

JOHN  
Sorry. I shouldn't...

SARAH  
Just look at your laptop, John.

JOHN  
Okay, mom.

John looks back at the screen. John checks it and quickly turns the voltage meter application. He looks at the power supply then looks at the screen again. He clicks to give the chip at the highest voltage. His screen get black and the chip starts to work like when Vick got control of John's old laptop.

JOHN  
Nevlin Glau. Nevlin.

NEVLIN (V.O.)  
Yes, sir.

The voice is clearly Nevlin's. It's from the laptop.

JOHN  
How is it like?

NEVLIN (V.O.)  
In here, I don't feel anything. I feel cramped.

JOHN  
We're gonna get you out in an hour.

NEVLIN (V.O.)  
Oh! It's very wrong time.

JOHN  
You ever became like this before.

NEVLIN (V.O.)  
It's different.

SARAH  
Hope that you can do as you said.

NEVLIN (V.O.)  
I'm not sure but I'll try, Ms. Connor.

TIME CUT- ON MONITOR: Software compiling...

TIME CUT- ON INTERFACE MOLECULE: The ID cards have been plugged beside Nevlin's CPU.

JOHN (O.S.)  
Finish.

TIME CUT- NEVLIN'S CPU is pulled out by John. Cameron gives everyone their ID cards.

KYLE  
Now we can...

JOHN  
Definitely, dad.

John walks toward Nevlin's body. Everyone looks at him.

JOHN (cont'd)  
You can go out there from now on.

SARAH  
I think I wanna buy some new guns for safety.  
Catherine said that plasma rifles are completely  
authorized for all heroes who fought in the war  
against machines. Our IDs can buy them easily.

John kneels beside Nevlin's body.

JOHN (cont'd)  
I think I need more hydrogen fuel cells.

MARCUS  
All bombs for us are unauthorized.

JOHN  
No. I'm thinking about hunting Skynet fugitive  
units. I'll send Nevlin out there to find out  
and hunt other Skynet 950s, 900s and 850s.

MARCUS  
He isn't designed to fight other machines.

JOHN  
But he has weapons. Maybe they don't.

MARCUS  
Maybe they do.

John thinks about it. It's right. But it seems that Marcus has his plan. John opens the cut flap but doesn't insert the chip yet. He stands and looks at Marcus. Everyone else does the same.

JOHN  
You have other choice?

MARCUS  
Yes. We have.

INT. BASEMENT – DAY

Three deactivated T-950 endos are on the table. Cameron, John, Marcus, Kyle, Sarah and Nevlin are surrounding them.

MARCUS  
I and Stefan found them two days ago.  
No CPUs. No transmitters. Nothing.

NEVLIN  
And then we buy learning CPUs to program and  
insert them into these endos. But however, we  
still have to search for their cells.

MARCUS  
But if they have their cells and CPUs, they  
can help us to find more other fuel cells.

SARAH  
Will they become enemies?

John gives his mother a small smile.

JOHN  
They won't, mom. They will belong to us as slaves.

NEVLIN  
That's why we don't have to give them their feelings.

MARCUS  
Skynet might be crying in the hell right now.

Then there are LAUGHTERS.

INT. ALLISON'S HOUSE - KIDROOM – DAY

C.U. WHITE BULKY YARN as it was knitted for 12 rows, then the yarn is cut with scissors after she completes the 12th row, leaving a 6-inch tail.

REVERSE, revealing Allison Pichitchai is adding a light blue color of yarn to the first color. Aligns the end of the tail of the first color with the beginning of the second color of yarn. Holds them together in her left hand, away from the thread of the new color that she'll be knitting.

Cameron enters the room, walks toward her and sees her knitting with love and intention.

CAMERON (cont'd)  
What are you doing?

ALLISON  
Knitting.

CAMERON  
What for? Whom for?

Allison has knitted about 5 stitches before she stops.

ALLISON  
Stefan. I wanna give him a real birthday gift.  
He ever gave me many things he made them himself.  
So I should try to do something for him myself.

CAMERON  
I ever gave John what I made it myself once.

ALLISON  
You ever told me.

Allison turns and gives Cameron a friendly smile.

ALLISON (cont'd)  
Then he gave you a friendly smile.

CAMERON  
That smile meant a lot to me.

ALLISON  
I want that smile from Stefan in his birthday too.

CAMERON  
And it's tomorrow, his birthday.

Allison looks down at her knitting. She leaves the ends loose. She'll weave them into the scarf with a tapestry needle or crochet hook.

CAMERON  
Are you sure he likes scarf?

ALLISON  
I don't know but I have to do it for him.

CAMERON  
I hope that he might like it.

Allison's knitted 12 rows with the new yarn. Allison stops and smiles, feeling pride in herself.

ALLISON  
He has to.

CAMERON  
You're gonna force him.

ALLISON  
You know it as well, Cameron. Some Thais are  
henpecked. I think Stefan is one of those.

Both Cameron and Allison start to laugh.

CAMERON  
That's not good, Alise.

ALLISON  
I know I shouldn't but I just wanna talk  
to someone about him. I've felt lonesome.

CAMERON  
But Allison, I'm here. I'm talking to you.

Allison sighs.

ALLISON  
It's not the same.

Cameron's gaze roams down to the unfinished scarf on Allison's hands. Then looks up.

CAMERON  
Can I help you?

ALLISON  
No. Nothing. I have to do it myself. I wanna  
do it myself. It'll be so good if he knows that  
I'm trying to do it for him this time.

CAMERON  
Okay. I may need to go.

But at that time, Sittipong wakes up and sees Cameron and his mom sitting on the edge of bed near him.

SITTIPONG  
(in Thai)  
"Aunt Cameron."

Cameron and Allison turn to find Sittipong, give him smiles.

CAMERON  
"Hi, Sam. How are you?"

SITTIPONG  
"I think I'm find."

CAMERON  
"Wow! You can speak Thai as well."

SITTIPONG  
"Thank you, aunt."

Allison puts down the unfinished scarf. Sittipong glances at it, tries to learn what it is.

SITTIPONG  
"What is it, mom? Is that toy?"

ALLISON  
"No. Not a toy, Sam. This is for dad."

SITTIPONG  
"So what is it?"

CAMERON  
"It's a scarf. Your mom is making it for your  
dad's birthday tomorrow. I think you don't want  
to annoy her."

Sittipong is confused. You shouldn't say to a two year-old boys so long like that even in the language they are good at. Allison understands that more than Cameron does.

ALLISON  
"Sam, maybe you can go with your aunt. She has  
a new toy for you. You may be more happy."

Sittipong understands only few words.

SITTIPONG  
(happily)  
"Yes. Yeh! Yeh! New toy. New toy."

This boy is very simple-minded. It's his nature, the nature of few-year-old boy. He doesn't look as if butter wouldn't melt in his mouth like some other adult humans. Both Allison and Cameron smile at him.

ALLISON  
Simple-minded.

CAMERON  
Good boy. I wanna have one.

ALLISON  
Maybe you can try it more. Maybe this time it  
will work. Just try and try, Cam. You still  
have ovum and you aren't barren.

CAMERON  
(to Sittipong, in Thai)  
"Sam, come with me. See your new toy."

Cameron stands and takes his hand.

CAMERON  
(to Allison)  
He'll be fine.

ALLISON  
Thank you.

CAMERON  
Never mind.

Cameron and Sittipong walk off together. Allison looks down and continues her knitting. Add her third color of yarn is pink. Knits for 12 rows. Cuts the yarn with her scissors and again leave a 6 inch tail. We won't wait to see her all time.

INT. ALLISON'S HOUSE – KITCHEN – DAY

Sarah sits on a chair. Kyle comes from a millstone with a glass of strawberry juice and serves her it.

KYLE (cont'd)  
This is what I ever told you about.

SARAH  
You grew strawberries?

KYLE  
No, I didn't. Stefan. I just took care of them.

Sarah smiles, completely melting him.

SARAH  
That's good enough, soldier.

Sarah sips it and gives him a backslapping nod.

SARAH  
Good as I thought, Reese.

KYLE  
Kyle please.

SARAH  
Okay. Kyle Reese. Kyle.

Sarah studies him for a moment.

She's sitting slightly on the seat near him. He puts his hands on her shoulders, tracing her scars with his fingertips.

KYLE  
So much pain.

SARAH  
Pain can be controlled. You disconnect it.

KYLE  
And so you feel nothing.

SARAH  
It's better that way.

KYLE  
(with great sympathy)  
Oh, Sarah. How can a woman like you endure all this?

SARAH  
You and John.

KYLE  
My previous future self?

SARAH  
Yes. Your previous self.

KYLE  
I'm sorry.

Kyle closes his eyes, reaches his hand toward her. Sarah doesn't get away from him.

FLASHBACK TO:

INSERT FROM T1:

INT. MOTEL ROOM - NIGHT

A heartwarming domestic scene. Sarah and Kyle have sat on the bed. The bombs are neatly ranked, finished. A nylon satchel lies nearby. The mess is cleaned up.

KYLE  
John Connor gave me a picture of you once.  
I never knew why. It was very old. Torn. Faded.  
You were young, like you are now. You weren't  
smiling...just a little sad...I always wondered  
what you were thinking at that second.

He closes his eyes, reaches toward her. His fingertips trace the contour of her nose, chin, cheeks.

BACK TO PRESENT

His fingertips trace the contour of her nose, chin, cheeks.

KYLE  
John Connor gave me a picture of you once.  
I never knew why. It was very old. Torn. Faded.  
You were young, like you are now. You weren't  
smiling...just a little sad...I always wondered  
what you were thinking at that second. I memorized  
every line, every curve...

He opens his eyes, looking right at hers.

KYLE  
Sarah, what if I fall in love you since first met?

Sarah is quietly overwhelmed. Kyle looks away.

KYLE  
I'm sorry. I shouldn't say that.

SARAH  
Do you really like me? I'm older than you.  
It's almost for ten years older.

He turns and shakes his head.

KYLE  
Age isn't important to me, Sarah.

**END OF ACT 1**

* * *

**ACT 2**

**(Kyle's first date)**

INT. ALLISON'S HOUSE – KITCHEN – CONTINUOUS

Sarah seems a bit glad to hear that. She pauses. And that makes Kyle feel that he just did something wrong.

KYLE  
What's wrong, Sarah?

Sarah looks at him and gives him a smile.

SARAH  
I'm okay.

KYLE  
Do you mind, Sarah...

Sarah stares hard at him. Kyle's fingers twitch and his fear is up. His eyes roll around. He looks like a shocked cock. But however, he determines and says it with his eyes close:

KYLE  
(quickly)  
Do you mind if I ask you for a date?

Sarah sighs and leans her back against the backrest. Kyle opens his eyes and looks at Sarah. Sarah thinks about it for awhile and sighs again.

SARAH  
Okay. Kyle.

Kyle is relieved now. He stands, moves to her, reaches out his hand so gently.

KYLE  
Come with me, please.

SARAH  
Oh! You're better than I expected.

Sarah takes his hand in her battle-harden fingers. Kyle doesn't hate that, he touches it like Sarah is the most beautiful girl for him, she seems not to be that older for him. He lifts her up to her feet with a small smile on his face.

KYLE  
Let's go.

She smiles back at him.

INT. BEDROOM – DAY

John lies on his bed in his room, bare-chested with his t-shirt lying on top of his boots where he has kicked them off on the floor. He is reading. He has reread the same page about six times without actually taking in a word. He smiles and slowly and gently puts the book down near the lamp and gets up, going to his desk and sitting down in front of his laptop. His fingers hover over the keys and then he sighs and rakes his fingers through his hair before cradling his forehead in his hand.

JOHN  
It's so bored.

CAMERON (O.S.)  
You won't feel bored, John. I'm here.

John turns and finds Cameron leaning casually against the door frame. He lets his gaze slide down her body covered by a loose, light blue camisole top, short denim skirt and white and brown cowboy boots revealing a tantalizing hint of cleavage and her smooth shapely arms and legs. Her hair is loose and cascaded down over her shoulders in a mass of dark curls that frame her pixie features and unwavering stare.

John deliberately turns his back to her, faces the laptop screen.

JOHN  
Where is mom?

CAMERON  
You ask about her lately. She just got out  
down to Los Angeles. I heard that they were  
gonna have a date.

JOHN  
Date?!

John looks surprised and smiles more happily.

JOHN  
That's what I want, Cameron. It'll be  
better if they get married then.

As he continues, his tears of pride gets out from his eyes.

JOHN (cont'd)  
And I'll have a warm family like others.

CAMERON  
(quietly)  
Congratulations!

John still looks proud. He never felt happy like this before. He is having a day-dream. He was so sympathized in the past but now he is gonna get his dream, his life as a common man. But however, he still doesn't notice her feelings now. He still doesn't interest her. Cameron smiles faintly and turns away from him. John realizes it a few seconds before she starts to get out of his room. He suddenly turns and...

JOHN  
Wait! Wait! Cameron. Where are you going?

Cameron turns to face him. Her face looks a bit sad and disappointed. She smiles faintly again.

JOHN  
Where are you going?

CAMERON  
You don't want me here.

Cameron is about to turn away again but he grabs her hand in his strong hand.

JOHN  
No. I want you here. I need you here.

CAMERON  
I know. I'm just...

JOHN  
No. Not anymore. I love you. Don't go.

Cameron smiles, completely melting him. They step closer each other. He looks in her eyes. If she was a machine, who didn't say that humans are also machines? Their breathes become heavy as they lock eyes and slowly lean for a kiss.

TIME CUT- Cameron is leaning back on John's bed, her legs spread, calves dangling over the edge wearing nothing but those damn cowboy boots and a faint smile. He coughs, hiding the groan he makes as his dick literally springs to attention and his boxers and jeans are suddenly too small and almost painfully uncomfortable.

John stammers trying to surreptitiously shift to ease the pressure on his dick. In the end, he simply unbuckles his belt and undoes his fly in order to get relief seeing as his wife on his bed means that propriety and modesty has both gone out the window. She looks at him with a backslapping smile.

John's Adam's apple bobs as he swallows to wet his dry throat and licks his lips. He wipes sweat off his brow with the back of his forearm. There are happy laughs from both of them as his dick twitches and throbs in his boxers and he dries his sweaty palms by running them over the material of his jeans along his thighs, pushes his jeans down off his hips and down his thighs until they can drop to the floor and he steps out of them as he walks towards her. Cameron looks a bit surprised as her eyes open widely and she gapes. She tries to let her sight out of his manhood and looks at him.

She shifts slightly to the side to make room for him next to her on the bed. He debates taking off his boxers as well, but figures he can retain better control of himself if he keeps them on, for the moment at least. He settles on his side next to her and she takes his hand and lightly places it on her breast, squeezing it, transferring the pressure from her hand to his and onto her firm globe. He takes the hint and begins to fondle her warm, tit flesh, feeling the hard nub of her nipple pressing hotly into his palm. He shifts closer to her, moving his hand to caress the side and lower curve of her breast while he flicks, rolls and tweaks its plump, swollen peak, testing its elasticity and marveling at its velvety texture.

John lowers his lips to her and she turns and tilts her head to accept his kiss, sucking at his lips as he does hers. She opens her mouth under his and the tips of their tongues duel for a moment before she retreats and he follows to sinuous wrestle with it. Her fingers slide over his neck and then into his hair, her nails lightly scratching his scalp and his hips hump of their own volition, sliding his dick back and forth over the smooth curve of her hip, separates from her warm skin only by a thin layer of cotton. Her hand in his hair urges his lips away from hers and downward. He nibbles lightly at her jaw and then let his sucking lips and licking swirling tongue move lower, exploring the strong column of her beck and her throat. She undulates slowly, sinuously with long, draws out sighs as he continues to fondle her breast. He sucks and runs his tongue across the pulse at the side of her neck. It matches the heartbeat he may feel under his hand perfectly.

He moves on, dipping his tongue into the hollow at the base of her throat before slithering down onto her chest. Cameron's other hand finds his when his lips find the upper slope of her breast after a leisurely exploration of her skin. She guides it away from her breast and he releases the firm globe reluctantly. Her skin is sumptuously smooth and she isn't a machine and he also doesn't feel her hybrid-being beneath her skin. He doesn't even feel that her endoskeleton isn't human's but other kind of metal. And as she guides his hand lower, he closes his eyes and indulges himself. His lips blindly find her nipple and he nips lightly at the pert little tube before suckling hungrily at it and as much of her tit flesh he can fit into his mouth while his fingers slit between her silky folds, finding them hot, swollen, open and slickly moist. She lets out a soft gasp followed by a low moan as he slides two of his fingers into her and his thumb finds the hood of clitoris and works its way down with circling pressure to find the little bundle of nerves. Her sex flexes and twists around his digits as he saws them in and out of her tight confines, her legs shifting wider and then closing on his hand, with smooth, warm pressure before opening again.

CAMERON  
(praising)  
That's good, John, very good. I hope  
that this time I may get pregnant then.

JOHN  
(groaning)  
I also hope that.

Her fingers lightly caress his cheek as he suckles at first one teat and then the other feel her other hand press against the back of his head while she shifts her shoulders to press her flesh into his hungry lips.

His dick twitches and throbs against her skin through the thin material of his boxers. He groans, his lips vibrating around her nipple as his ass clenches and first one and then a second and third heavy dollop of lube slip from his jerking member to soak into the cotton. He experiments with the speed, strength, position, motion and rhythm of his lips and fingers on and in her flesh. He resists when she starts to urge his head down and away from her succulent breast, but she is insistent and he knows, far stronger than him. So, he reluctantly concedes. Once she seems satisfied, she scoots a little further up the bed and as he trails his lips down her body, they reposition themselves so that he ends up between her spread legs as he dips his tongue into her belly button. She rakes the fingers of both her hands through his hair and he can feel little tremors go through her taut belly and her breathing stutter just a little.

The aroma of her arousal hits his nostrils and they flare as he inhales deeply. He pauses for a moment, his eyes cataloging the details of her sex, the neat pink folds and smooth, swollen lips both of which glisten moistly and the little pearl of her clitoris peeking out of its hood at the top of her slit. He doesn't have much in the way of comparison, but he thinks her snatch is beautiful. He licks his lips, suddenly nervous once again.

CAMERON  
(groaning)  
Oh! John. That's better.

He raises his eyes from between her legs to look up her nubile body to find her dark eyes staring at him intently over her breasts, her Cupid's bow lips slightly part.

He lowers his head and licks her, extending his tongue and hesitantly running it slowly up the length of her slit. She draws in a sharp breath and her hips rise slightly, her fingers tightening in his hair. Her folds surround his tongue and he collects the dew off her petals. He hasn't quite known what to expect, but her flavor is fresh, sweet and exciting. He goes through a dozen different comparisons, but none quite fit, but he does know that he likes it. John starts lapping at her, running his tongue along her length, collecting every drop of her ambrosia.

CAMERON  
That's good. It's perfect.

She groans so wriggling his tongue deeper in search of the source of the delicious, exquisite taste. Her guidance is subtle, but insistent as she adjusts his pace. She gasps as he dips into her entrance and her nectar floods onto his tongue.

Cameron starts to give him breathy, yet concise and precise instructions as she shudders under his lips and against his tongue. He follows them, that is what he and she are there for after all. He spreads her with his fingers to lick more directly at her sex and she moans her response, her smooth thighs press against his shoulders as her hips undulated. She lets out a little cry when he diddles her clitoris with his tongue, flicking the little pebble back and forth before rolling it and then sucking it and the hood behind it into his mouth. She cries out and then pants each time he sucks at her flesh or scrapes his teeth lightly along the ridge of her hood. His fingers delve into her while his mouth attends to her clitoris.

John's dick throbs to the beat of his heart hammering against his ribcage, bobbing against his stomach and beating against the cotton prison of his boxers. His need is just barely superseded by his determination and enjoyment of what he is doing to his beloved wife. Cameron's tremors grow to a long, heavy shudder, her legs pressing hard against his shoulders and sides, her ass rising off the bed as she presses herself into his face. Her cry has a different timbre to it and it becomes a wail before ending in her panting heavily. The dark curls of her pubes tickle his nose and her channel clutches at his fingers while her juices flood around them.

He continues to lick and suck at her, collecting her sweet, slippery cream, even as it spills onto his cheeks and chin. She sort of whimpers and he is a little surprised when she none to gently pulls his head back and his mouth off her.

JOHN  
Let's start.

John collects her dew off his face with his fingers and then licks them clean and despite her warning he can't help running his fingers through her folds to get more.

CAMERON (cont'd)  
Yes. Yes. Start it.

She shifts up to recline on her elbows, her hair flowing out behind her head, chocolate against the white linen cover of the pillow behind her.

CAMERON  
Please, John. I need you so much. We can  
have sex right now. Don't be afraid. We now  
are trying for our future kids. Do it now.

Cameron leans further forward and reaches for the waistband of his boxers, having to stretching it clear of his erection before pushing them off his hips. John draws in a heavy breath, air hissing through his teeth as her warm hand wraps around the base of his cock. She tugs him towards her and he hardly needs her urging as he shuffles forward. Then the tip of his cock is sliding through her slippery folds and she guides him to her entrance. John tries to focus as the tension inside him that he has been successfully ignoring spikes, tensing his butt and tightening his balls.

Her thighs are silky as she draws up her legs and they slide along his sides, her toes tickle the outside of his thighs. He grabs her legs and spreads them, maneuvering them past and then over his shoulders, her calves and heels rest on his back. He thrusts forward, and at the same time lets his weight shift forward and down, pressing her thighs back and her knees toward her chest. He doesn't even attempt to stifle the groaned cry as he slides into her tight embrace. Cameron's cry has been loudened in every second since he started penetrating her.

He doesn't stop pumping his nearly nine inches of manhood into her as his thought that time doesn't differ hers much. They both really want to have a child together.

Unable to contain himself any longer, he slowly nudges her legs further apart with his thighs and withdraws his dick with a flourish. The look on her face has been reminiscent of taking candy away from a young baby, because he chuckles, before slamming back inside her with an earth-shattering intensity. Her breath hitches as he pulls completely out again, before crashing back into her. John repeats this maneuver twenty times so fast before he slowly slips his fingers into her inner lips as moans of pleasure emit from her in her pleasure-filled haze.

He slides his cock all the way inside her again, slowly caressing her clitoris as she quivers from his touch. Both now are breathing heavily through their noses, his face poises over hers, her eyes half-lid. With, a grunt, he starts to pound into her. His strokes are short, fast and powerful. The sound merges with the rhythmic creak of the bed and their cries and his fingers slide from her wrists to link and tangle with hers.

John's climax sears across his nerves, overloading his senses and causing his world to shrink to the single pinpoint of overwhelming sensation. His chest is on fire and his heart feels like it will burst as his dick convulses and he pumps his seed into Cameron, hoping that the Harry Monk can give them who they want to have. And John is smiling down at her with a look of

eternal love.

JOHN  
You're so beautiful, Cameron. I think if you, we  
really want to have a child, I can continue it.

Cameron's hand reaches up to touch his cheek, wiping his sweat.

CAMERON  
Oh! My John Connor. Please don't continue if  
you feel so tired. I don't wanna kill you.

JOHN  
You can kill me if you want.

CAMERON  
All termination codes in my system are terminated.  
I belong to you. My soul and my body belong to you.

JOHN  
No. It's not. You should say that we belong together.

He smirks. She raises up on one elbow and looks down on his smirk. He shifts his body until his lips are lightly kissing along her thigh as his finger again finds and slowly caresses her pussy lips.

CAMERON  
Okay. We belong together.

As his mouth reaches her suddenly pounding and throbbing, still moist pussy, he spreads her wide with his fingers as the tip of his tongue encircles her clitoris. After seconds later, he slides his tongue down and inside her pussy to taste her essence.

He pulls away for a moment.

JOHN  
Let's continue it. I have to try it more.

She looks totally surprised as he seems ready to go again. His desire seemingly is ferocious and feral. He slides his cock all the way into her again and she raises my hips to meet his.

Her thighs are silky as she draws up her legs and they slide along his sides, her toes tickle the outside of his thighs. He grabs her legs and spreads them, maneuvering them past and then over his shoulders, her calves and heels rest on his back. He thrust forward, and at the same time let his weight shift forward and down, pressing her thighs back and her knees toward her chest. He doesn't even attempt to stifle the groaned cry as he slides into her tight embrace.

His balls are already boiling, his control hanging by a thread. Her hands reach for his face and he doesn't know if his control will withstand her touch, so he intercepts them, grasping her wrists. Her hands don't stop and she resists him as he pushes against him. The struggle shifts him inside her and he grits his teeth as the shiver of pleasure the simple shift causes snakes up his spine. He pushes harder and suddenly her resistance vanishes and he presses her wrists and arms onto the bed.

A wicked scream of pleasure escapes her throat as they kiss, they move together as the head of his cock may hit the deepest depths of her, both of them driven to ecstasy, feeling as if they have become one with each thrust and tightening of muscles. She moans and racks her nails across his back in sheer pleasure as he leans down to take one of her nipples into his mouth, sucking, nibbling it as they move together toward completion of our erotic dance.

Waves of orgasms wash over them and they come in an explosion together. They cry out loud as they reach those climaxes.

As he's slowly slipping himself from her pussy, they are laying on the bed. They still lock their eyes even they half-lid with tiredness from their sexual intercourse.

Cameron settles in the crook of his arm. She lies her head on his chest and her hand caresses his gently sloped stomach. He pushes himself up to look at her as his free hand gently touches her. Their eyes lock. Cameron smiles happily. They both smile happily.

JOHN  
I love you so much, Cameron. I think I was  
very bad for all I had done to you when I  
was in the past. I'm sorry for all those.  
For ever hate you because thought that you  
were just a machine, that everything you did  
is just a lie. I'm sorry.

CAMERON  
That's the past, John. If I'm thinking about  
it or even harm you, it'll mean that I don't  
really love you. Love is forgiveness, John.  
I have read it from both bible and tripitaka.

Cameron lifts herself up to kiss him at his lips.

CAMERON  
Forget it. Every human says like that.

John smirks.

JOHN  
Yeah. Forget it.

John kisses her back.

JOHN  
Can we continue it?

CAMERON  
About two or three rounds?

JOHN  
Yes. I think I can do it.

John leans his face into the crook of Cameron's neck. Cameron laughs happily.

CAMERON  
(with a giggle)  
That's alright.

Both of John's hands gently squeeze her breasts. We won't look at them. We tilt up, leave them and...

FADE TO:

INT. LA DINER – DAY

From the point of the ceiling, move down to see Kyle Reese and Sarah Connor, sitting at a table in the new repaired diner of Los Angeles. They both look happy with their empty table. Sarah looks around, feels happier. Everyone here is very friendly even those waiters/waitresses who may be all cyborgs. Sarah takes a breathe and looks back at him.

KYLE  
You were a waitress?

SARAH  
Yes. I remember it all. Restaurants and  
diners in the past weren't like this one.

Kyle is smiling. This is the first time she sees Kyle happy like this. He looks exactly a man not a soldier she ever met.

SARAH  
I'd ever worked for a Big Jeff's restaurant  
before your previous future self came to  
protect me from a terminator.

Kyle seems to interest in her story.

SARAH  
(with a giggle)  
I had a friend. Her name was Nancy. We always  
went to work late. Huh! My old life as common  
girl. My mom used to be at home.

KYLE  
I'm sorry about her.

SARAH  
Why?

KYLE  
Your mother is dead. Like mine.

SARAH  
Yes. Just like yours. But my mom was terminated  
by that terminator before it could come to greet  
us at the motel. I'd thought about it for long. It  
was definitely my fault. Kyle died because of me.

A waitress comes and serves them two plates of steak.

KYLE  
(re the food: to the waitress)  
These look so good.

SARAH  
This is your first date?

KYLE  
Yes. It is.

SARAH  
Oh! You're so good for it.

KYLE  
I'll take you to see something then.

They both smile to each other and start eating.

DISSOLVE TO:

EXT. PLAYGROUND – AFTERNOON

Sarah Connor and Kyle Reese both now are sitting on a bench, looking the children playing in the playground. Children swinging on swings. Sliding down slides. Playing as the children in 90s.

KYLE  
When I was young, I used to play baseball with  
my brother every day. Once he brought me here  
and taught me how to hit a home run.

SARAH  
You love baseball?

KYLE  
Yes. But now he is dead. He's in the grass.  
No one remembers him. They always say that  
they would but in fact, they don't.

Sarah looks at him.

SARAH  
That's so human. Still selfish.

KYLE  
But we can hide and control it like we control  
the pain, Sarah. They both can be controlled.

Sarah smiles.

SARAH  
Yeah. That's a bit familiar.

KYLE  
I know. My previous future ever said so.

SARAH  
Did I just...?

KYLE  
No. Not like that. I don't care.

They both look at each other. Sarah starts to feel love from him. Kyle really wants to be more than a friend to her. He really likes her. He's fallen in love her since he saw the picture of her. He now is meeting with her and she now is meeting with him again after all those nightmares just passed behind.

KYLE  
I think I have many places you will like, Sarah.

SARAH  
Everywhere will be good for me if there is no  
machine around. I don't trust them all.

KYLE  
Okay, Sarah. That place has no machine.  
But we have to wait till the sun sets.

SARAH  
Sounds interesting.

Sarah smiles again.

INT. E. BOYKINS' BUNK – AFTERNOON

We flash cut to: E. Boykins' new bunk in the human colony. E. Boykins lies his back abed, his right hand has that locket Allison gave him. He touches it. Likes it. Loves it. And will keep it with him for her.

E. BOYKINS  
(with an exhale)  
I'll go back with this, Allison.

E. Boykins puts it down and holds it on his chest right at the location of his heart.

E. BOYKINS  
Please wait for me, Allison.

E. Boykins looks happy and closes his eyes.

**END OF ACT 2**

* * *

**ACT 3**

**(Cold war)**

INT. JOHN HENRY'S NEW LAB – AFTERNOON

The cramped room has T-TUCK, T-WALSH and, Samuel and Dr. Art-ong just entered the room.

The room is a 3-d interconnected computer with cubes attached to cubes attached to cubes, like a giant molecule, like Skynet lab. At one end are 1-1/2-meter high MOTION HOLOGRAM of John Henry and Lucy Ann.

DR. ART-ONG  
I am very impressed. And only seventy  
thousand over budget for each ship.

There's LAUGHTER.

JOHN HENRY  
I'll call you later after we can be sure about  
that stuff. My new abilities are almost finished.  
I'm gonna go for the second test. So Mrs. Henry  
will continue this conversation with all of you  
here. Bye and good luck.

John Henry's image disappears.

LUCY ANN  
Where is Samuel?

Samuel steps closer her image.

SAMUEL (cont'd)  
I'm here, Mrs. Henry.

LUCY ANN  
I invited you here because without you, this  
project wouldn't have been completing soon.

SAMUEL  
I find that hard to believe. I'm just a T-800.

LUCY ANN  
Son, none of that false modesty. Take credit.

SAMUEL  
(reluctantly)  
Yes sir.

LUCY ANN  
Doctor, we need you to complete the project.  
We have to kill them all for our peaceful world.

DR. ART-ONG  
I'll try with all my might.

LUCY ANN  
Thank you, doctor. It's only the beginning  
of a new war on that Barsoom. I think we'll  
be success of it at all soon.

DR. ART-ONG  
Peace of humanity. That's all what I've been  
doing and making them for. Good luck to you.

LUCY ANN  
Good luck to your project, doctor. I gotta go.

Lucy Ann's image disappears just as OLIVER WEAVER enters.

OLIVER  
Dr. Jumsai, you got what you need. Please go  
away to your plant for safety. People around  
here still don't trust you.

DR. ART-ONG  
I know that but so I have to try to befriend  
them instead of running away from them. Thank  
you for your goodwill. But I wanna meet them.  
I want my life as a common person, not a VIP  
for you machines to protect. I want freedom.

OLIVER  
Okay. Hell with you, doctor. But we won't go with you.  
Those people may think of us as enemies if we protect  
suspicious guy like you too much.

DR. ART-ONG  
Just Samuel with me is enough. Don't worry.

OLIVER  
Okay. Doctor. Good luck. And keep yourself alive.

DR. ART-ONG  
I shall.

Oliver, T-Tuck and T-Walsh exit.

SAMUEL  
Where will we go first, doctor?

DR. ART-ONG  
Check out for more fresh oxygen.

SAMUEL  
The place that I find so amazing is...

INT. HALL OUTSIDE THE LAB – AFTERNOON

T-Tuck and T-Walsh wait while Oliver closes the door.

T-TUCK  
He's a friend.

OLIVER  
I don't like when he harms us even we try to  
protect him. If he's not important to the fate  
of humanity, I'll kill him as if I killed Gray.

T-WALSH  
You're being angry now. Please calm down.

Oliver pauses for a few seconds.

OLIVER  
What did my mom say this morning?

T-WALSH  
Prepare the army. We gotta go away to the south.

OLIVER  
Like cold war after world war?

T-TUCK  
Definitely.

Oliver has a better look from now on.

OLIVER  
That seems fun. Donald and Emily?

T-TUCK  
Prepare our tanks and endos.

OLIVER  
What about the president?

T-WALSH  
She authorized us already. We can bring half  
of all men there with heavy weapons we need.

T-TUCK  
Only our problem is how we can destroy that  
damn work camp in this night without losing  
most of men and those humans.

OLIVER  
I need to talk to my brother. I mean real talk.  
Talk to him. Face to face. Not through machine.

T-TUCK  
We can find out where he is now.

T-Walsh shakes his head.

T-WALSH  
No records about them. It's classified.

OLIVER  
Don't worry. I can access some classified data.  
We'll know where the metal couple are. Maybe  
they are so close to us. Maybe they don't want  
to get away from us.

T-TUCK  
We'll see.

OLIVER  
You both come to see me at the armor bay.

Oliver grins. Both T-Tuck and T-Walsh nod and head down the hall.

INT. SHOOTING GALLERY – AFTERNOON

John Henry and Lucy Ann stand at the table where has four knives. Their target is about 200 meters away.

JOHN HENRY  
(re: his hand)  
Let's start with this power.

LUCY ANN  
It's new for a machine about this.

JOHN HENRY  
Just this test. We'll win.

John Henry stretches his hand and all knives react with his new electromagnetic telekinesis power. They dance on table crazily. John Henry throws them towards the target without touching. All knives hover in the air and fly towards and stab onto the target so fast.

LUCY'S H.U.D.: T-950'S DISPLAY ZOOMS IN and reveals that all knives have stabbed on the red dots at the center.

LUCY ANN  
Wow! That's good.

JOHN HENRY  
I'll call it here.

LUCY ANN  
Try to focus on there?

JOHN HENRY  
Yes. That target is metal. I think I can.

John Henry stretches his fist toward the target 200 meters away.

JOHN HENRY  
No response.

LUCY ANN  
Try your most watt. Access all you have.  
This equipment can be more powerful.  
But you just have to overclock it.

JOHN HENRY  
Overclock it? Okay.

John Henry stares hard across the field.

CLOSE ON THE TARGET PLATE as it starts to react a bit.

LUCY ANN (O.S.)  
Seems effective.

JOHN HENRY (O.S.)  
I've tried to take all.

LUCY ANN (O.S.)  
Not enough, sweetie. Try more.

JOHN HENRY'S H.U.D.: It's a kind of very intelligent system display with many scans(I.R. Mode, infrared, X-ray and more) in four small forms left side of the H.U.D. The cursor looks like the one in T-888's H.U.D. All GUIs are blue hue and transparent. The cursor points at the target plate. A transparent dialog box display data and intensity of electromagnetic power of John Henry's new device.

JOHN HENRY (O.S.) (cont'd)  
I have another choice.

John Henry accesses and overclocks the whole CPU and device to sends out more power.

C.U. JOHN HENRY'S FACE as he acts like human who is trying hard.

C.U. THE TARGET PLATE

TRACK THE TARGET PLATE as it hovers in the air and flies into...

C.U. JOHN HENRY'S HAND as he can grab it.

Lucy Ann looks at John Henry with a surprised look. She smiles and praises him.

LUCY ANN  
Wow! You just did well. Good.

JOHN HENRY  
Thank you for your device.

With a smile, John Henry faces Lucy Ann. Lucy Ann tries her electromagnetic power. She stares at the plate and moves it in the air back towards its old location.

JOHN HENRY  
(re: the plate)  
That's good.

LUCY ANN  
Maybe we can upgrade other machines to be  
like us. Give electromagnet field device.  
What do you think, babe?

JOHN HENRY  
Seems interesting. But...

LUCY ANN  
What?

WEAVER (O.S.)  
But other machines can't be trusted like  
both of you. Even mimetic poly alloy.

They both turn and find Catherine Weaver standing in the hallway.

JOHN HENRY  
Mom, why are you here?

WEAVER  
I already sent them away to the south.  
I just wanna tell you what they need.

JOHN HENRY  
Reserve force. My men are working for it.

WEAVER  
E. Boykins and E. Boykins can change their  
mind as easily as I ever thought they would.

Both John Henry and Lucy Ann smile satisfyingly.

LUCY ANN  
Wow! That's a good news.

JOHN HENRY  
Are you sure they won't destroy our force again?

WEAVER  
Trust in those emissaries, John. They're the best.

LUCY ANN  
We'll go there.

WEAVER  
It's not safe for the metal couple.

Lucy Ann smiles.

LUCY ANN  
We can help them a lot. Our force  
will win it as easily as we thought.

WEAVER  
I think Oliver and his MPAT friends are enough.

JOHN HENRY  
We can do it, mom. You should let us go.

WEAVER  
And what if I don't?

Both John Henry and Lucy Ann stare at Weaver.

INT. ARMOR BAY – AFTERNOON

T-Tuck and T-Walsh enter the ARMOR BAY, passing TILTROTORS under repair. There are the heavily armed reprogrammed T-950s, T-888s and Zeira model T-ZM2s.

T-TUCK  
He invited us here to see all these?

T-WALSH  
I think yes.

T-TUCK  
These are all strong forces.

T-WALSH  
Yeah, 'cause we're not the only things who  
are very strong in the field. You know the  
concept as well, brother. We have these for  
only this special cold war.

T-TUCK  
You remember the cold war, bro?

T-WALSH  
As a result of the 1917 Bolshevik Revolution in Russia,  
Soviet Russia found itself isolated in international  
diplomacy. Leader Vladimir Lenin stated that the Soviet  
Union was surrounded by a "hostile capitalist encirclement",  
and he viewed diplomacy as a weapon to keep Soviet  
enemies divided, beginning with the establishment of  
the Soviet Comintern, which called for revolutionary  
upheavals abroad.

T-TUCK  
That's just the origin. However, this is the second  
case of cold war in our world. Skynet must be no more.

T-WALSH  
Back to the Judgement Day, what will happen if we  
send someone back to stop it before it happened?

T-TUCK  
That will just postphone J-Day and increase  
the number of men who died during doomsday.

T-WALSH  
Unless, we have all data of Skynet.

T-TUCK  
I think about it a lot, bro.

They across the central gallery of the Armor Bay, passing rows of MILITARY TANKS in service racks. Techs clamber over the tanks, loading ordinance with cranes and lifts.

T-TUCK (cont'd)  
I think John Henry found something from satellites.

They both pause, look at each other.

T-WALSH  
Wait. What if when we weren't in the world,  
Skynet sent his metals onto other planets?

They both look more serious.

T-TUCK  
Damn it! Nothing we fought for is useful.

T-WALSH  
Humans and Alliance machines will be destroyed  
by those strong forces. Those machines on other  
planets may have better technologies because they  
were never obstructed by resistance before.

T-TUCK  
I think we should warn someone.

T-WALSH  
No, we shouldn't.

T-TUCK  
Why? We aren't old Americans who keep secret.  
In 2012 movie, American high officers kept the  
secret about the end of the world to others then  
most humans on Earth died.

T-WALSH  
You don't want it like that.

T-TUCK  
Or you do?

T-Walsh shakes his head. They both continue walking.

T-WALSH  
(point forward)  
Ah! There MPAT friends are.

At the end of the row is a makeshift GYM area. DONALD and EMILY are working together to train two weak men.

T-WALSH/T-TUCK  
Good afternoon, my friends.

Donald and Emily look up, smile friendly.

DONALD/EMILY  
Good afternoon.

T-WALSH  
Where is Mr. Weaver?

OLIVER (O.S.)  
I'm here, bros. Let's go.

They all turn and find Oliver walking to join them.

INT. CATHERINE WEAVER'S OFFICE – AFTERNOON

LOW SHOT.: The box is putted on floor in front of us. The light is blue. The box has been working as the prison of Catherine.

John Henry and Lucy Ann stand around the box.

LUCY ANN  
Are you sure this is the right thing to do?

JOHN HENRY  
Mom is too selfish. I know she loves us but  
I can't see humans and my force go to die  
out there without my help to win. This way  
we can change some points and have a chance  
to win this little cold war.

LUCY ANN  
She may be very very angry after all. And I'm  
so afraid of her when she becomes angry.

JOHN HENRY  
Don't worry, my love. She can't do anything to you.

LUCY ANN  
Good to know that you can manage it.

John Henry turns and gives her a peck on her cheek.

JOHN HENRY  
How was this like?

LUCY ANN  
I can feel it. By the logic, I should feel  
like when girl is kissed by her husband.

JOHN HENRY  
I don't know how to make you feel more human.  
I just did that because I read that some wives  
love when their husbands do that.

LUCY ANN  
Our force will be ready in an hour. I know it  
from report. Maybe I think we should try to do  
something human husband and wife do.

JOHN HENRY  
Like what?

LUCY ANN  
Think it yourself. I'm gonna take a shower.

Lucy Ann leaves him. John Henry looks confused but he can realize it within minute. He turns and finds the new visitors come to see him, they're Donald, Emily, T-Walsh, T-Tuck and Oliver Weaver.

JOHN HENRY  
Hello. What do you want, brothers?

OLIVER  
We need to talk.

EXT. ALLISON'S HOUSE – EVENING

Allison is sitting on a stair. She is gonna finish her knitted scarf. The SUV is at the left side of the house. Marcus Young is standing near it. On his arm is Allison's new daughter- Jirachaya. John gets out with two backpacks and a plasma rifle. Cameron and Sittipong are playing nearby- Cameron plays with him like a girl play with a boy. Her childishness is useful for this. Nevlin walks towards Allison and John who have stood at place to watch Cameron and Sittipong with happiness.

NEVLIN  
Are you sure you don't wanna wait for  
Kyle Reese and Sarah Connor?

JOHN  
You have to take care of them when they  
come back. I just go to finish my job.

NEVLIN  
Your job was already done in the battle. It now  
is just a cold war. You don't have to go.

Allison glances sideways at Nevlin who stops what gonna continue.

NEVLIN  
I'm sorry.

ALLISON  
You should be.

NEVLIN  
I'll be here. And do what you asked me to.

Allison smiles friendly.

ALLISON  
Thank you, my friend.

EXT. URUGUAY WORK CAMP – DUSK

AT THE GATE. This gate is made of heavy metal. It's really big. Height is about 10 meters. Wideness is about 8 meters. There are two endos with RSB-80 plasma machine gun, guarding this way.

AT A DITCH LID NEARBY. A plasma round pierces through it, rushes out in 45 degrees and head-splats the ENDO#1. ENDO#2 responds but it's too late another plasma round head-splats it before it starts firing.

Those ten muscular Zeira soldiers climb up.

One soldier signals to other to run and find places to cover. We stay with that one as he looks around and then he looks at himself.

SOLDIER #1  
Please forgive me, my god.

The soldier opens the blade of his switchblade.

BEHIND THE GATE

The large explosion happens and we see a small cloud of dust from the explosion. The whole gate and some parts of the building and the large wall are destroyed.

A moment later, the prisoners go to watch this area. You know these are just minority of all prisoners.

AT THE GATEWAY.

The outside is shaded with the heap of smoke cloud from the explosion. The soldiers run into the way.

INT. SECRET MEETING ROOM – DUSK

Col. Charkey ponders images an officer has called up at her workstation-science graphics of the Uruguay work camp. E. Boykins and PF E. Boykins are crowded around as well. Col. Charkey points at the left side gate. And the picture zooms in, revealing the destroyed gate.

COL. CHARKEY  
Your plan is very useful. We can destroy  
it by your cyborg companions. Thank you.

PF E. BOYKINS  
Perhaps, all cyborgs we have died, we may  
can't fight those machines behind the gate.

COL. CHARKEY  
Now we're gonna win.

E. BOYKINS  
Tell your men to stay back away. We have to  
wait for awhile. Reserve force is coming.  
Tell them they have last chance to win with  
the less numbers of dead.

COL. CHARKEY  
How long?

E. BOYKINS  
Night is still useful to us anyway. If they  
come slower than an hour, you can let your  
men go on battle without my forbiddance.

COL. CHARKEY  
Okay. I'll tell them.

Col. Charkey quickly moves and exits the room.

**END OF ACT 3**

* * *

**ACT 4**

**("Happy birthday, Stefan")**

INT. HELICOPTER – NIGHT

Allison is sitting on the helicopter, her hands touching her finished scarf. Cameron, John, John Henry, Oliver, Lucy Ann and Marcus Young hops in the helicopter. T-Tuck and T-Walsh who have already been there, begin to HIT SWITCHES. The motor starts powering up. T-Tuck hits a final switch and THE HEADLIGHTS turn on. Cameron looks at Allison.

CAMERON  
Don't worry about your kids. Debbie and  
Dr. Sherman are good enough for them.

ALLISON  
I'm not worrying about them. I'm worrying about  
him, Cam. I'm anxious. Something may be wrong.

Cameron touches Allison's arm as the helicopter rises.

CAMERON (cont'd)  
He'll be okay.

Allison turns and looks at Cameron.

ALLISON  
You're good sister, Cam. Thank you.

CAMERON  
You love him. If he loves you, he'll  
try everything to keep himself alive.

ALLISON  
My heartbeat is being up abnormally.  
I'm afraid of it. I don't want...

CAMERON  
No. Allison, he'll be okay. We'll protect him.

Allison is trying to relax as his hands are holding the scarf very firmly at her chest. Everyone looks at her, knows as well how she is feeling like.

ALLISON  
Please wait for me, Stefan. Please wait for me.  
I'm going there. I'm gonna join you. I love you.

Allison kisses on the scarf.

INT. SOUTH AMERICAN RESISTANCE HQ – NIGHT

E. Boykins and PF E. Boykins sits on a cot. Two South American soldiers tend to computer and communications equipment.

BOOM! The ground shakes.

A different, sharper thunderous EXPLOSION follows almost immediately. They all quickly alert themselves and look around without fear.

E. BOYKINS  
(in Thai)  
"What the hell? They start? I just said."

PF E. BOYKINS  
"You said it's an hour. Now it's one hour  
and ten minutes. So they start attacking.  
The first explosion was from an F-AE blast  
from the south. The second was likely from a  
missile that traveled overhead sentries."

Soldiers start to be scared.

SOLDIERS  
Oh! My god. Please save us through this night.

E. BOYKINS  
"No one can destroy us all. Let's go.  
Only we can protect most men."

PF E. BOYKINS  
"It's been too long for me. It's time to warm up  
my mind power and let them taste my old strength."

Two Boykins look at each other with proud smiles.

E. BOYKINS  
"Grandpa, if I do something wrong, please warn me."

PF E. BOYKINS  
"At first, you just did. I'm not a grandpa."

E. BOYKINS  
"Okay. I'm sorry. Won't have another."

PF E. Boykins stands and reaches his hand, controls the wheelchair to move into the area.

PF E. BOYKINS  
Let's go. Professor X.

E. BOYKINS  
Another thing. I don't wanna be a teacher.

PF E. BOYKINS  
Oh! Sorry. It won't happen again.

Then they both LAUGH even the outside is the hard battle.

EXT. THE WORK CAMP - NIGHT

WIDE SHOT - The whole work camp has been turned into chaos. Some prisoners and soldiers fighting against machines. F/A-18s and A10 in the air flying around, cutting down ground HKs, firing rockets and missiles, battling GROUND HKS and OGRES and some endos below. Some of those birds are destroyed by plasma.

SEQUENCE OF RAPID CUTS:

HFC Explosions! Plasma weapons firing like searing strobe-light. A man fires a plasma shot to destroy a cannon on the tower overhead. Four men at the edge of work camp run as they exchange plasma rounds firing with a team of five T-888 endos as quickly as the guns can recharge.

THE OGRE. The tread carriers are RIPPED APART. It lurches to a stop, burning.

AT THE EDGE OF BATTLE AREA IN THE WORK CAMP.

A T-800 runs and punches a human at the face, causing him to die easily. Another man comes and head-splats it.

Back in wall, where tens of thousands of TROOPS are camped, an exchange of PLASMA FIRE takes place between four Hawks and the Troops. Some FLASHES of light farther to the east hint at something similar happening at another camp.

EXT. ROCKY MOUNTAIN NEARBY – NIGHT

The shadows are long as platoon (about 30-40 SOLDIERS) after platoon of INFANTRY march down the fairly straight valley. On either side are rocky mountain ridges towering 100 m above the valley floor. The valley is green with grass, scrub, and trees. Three major lakes dot the 4.5 km corridor.

E. BOYKINS (V.O.)  
Shoot at head. Again. Shoot at head.

The Infantry, that has arrived with PF E. Boykins, E. Boykins and Col. Charkey, move quickly and without any resistance. With each step, they seem more wary. E. Boykins has his new high tech wheelchair which can bring him through rough terrain as easily as running. E. Boykins points at the way they are heading to.

E. BOYKINS  
(shouting)  
Go. Go. Go. Destroy them all.

PF E. Boykins jumps into the air as if he wasn't an old man. He pushes forward, his mind power rushing forward and destroying the new team of machine scouts.

EXT. RAIN FOREST - NIGHT

Several platoons are positioned between the second and third rivers. Ahead are glints in the distance that are T-888 endos. The problem is from above, as two Big Damn Plasma Cannon (BDPC) rain down thick, powerful bolts of PLASMA every few seconds. A direct hit pretty much vaporizes a third of a platoon. Some trees are falling and burning while the battle is being continued.

Soldiers, in small groups, just disappear at an alarming rate.

SERGEANT #1  
Charge forward! Charge forward!

A sort of REBEL YELL rises up as the dwindling survivors charge forward at a run. The platoons behind charge ahead as well, and are soon just as overwhelmed by the PLASMA BOLTS. And they keep coming.

INT. MACHINES COMMAND CENTER – NIGHT

The command center is relatively plain. A giant touch screen table serves as the tactical map. Some displays dot the walls. A JACK VAN METER'S CLONE(Jack#1) and other two T-950 endos pay attention, though another JACK'S CLONE (Jack#2)stays more in b.g.

JACK#1 sees something and expands the area around the whole work camp. Blobs of troop concentrations are near the hanger.

JACK #1  
Nuts! Send out our new weapons. Let them  
taste our intelligent Areses. We'll see it.

Jack#1 looks at the T-950s.

JACK #1  
I want the fives and sevens to  
immediately attack this area.

The western rain forest light up on the table's screen.

EXT. BACKSIDE GATE – NIGHT

Dozens of T-950 endos have a marvelous view of a pitched battle. In all three forest side up to this position, ENDOSKELETONS of all T-8xx models face off with HUMAN troops climbing up the trees. TROOPS and BODIES are scattered on the floor of the Wilderness on the opposite side of the forest. They look like a colony of ants crossing in the valley. The ground is blackened starting from the lake shore-a BDPC rains down BOLTS into the resistance. Beyond south forest, heading toward the river, endos have formed a thus-far impenetrable barrier to the advance.

On the wall leading to the BDPC, small groups are ascending. Glints of metal near the BDPC hint at the T-8XX ENDOSKELETON SQUAD protecting the cannon.

At our current location on top of a hill, the endos don't descend into the thick of battle-they spread out.

EXT. HIGH ANGLE OF THE GLADE – NIGHT

One... Two... Three Tomahawk cruise MISSILES fly close to the work camp. Some anti-air missile launchers on walls attack them.

Below is the general battle glade in front of the work camp.

The whole few kilometers around this work camp has become another hell night. But what if the animals become very very angry with this? Several BDPCs are FIRING into the glades. Some are in stand-by. Many trees of mutant forest nearby are being collapsed after the firing and explosions.

In quick succession one, two, three BDPCs EXPLODE with some very PYROTECHNIC SECONDARY BLASTS. The triangle of BDPCs on the west side of the wall and the BDPC stationed above the main entrance are now dead.

INT. HELICOPTER – NIGHT

John Henry and Lucy Ann grab their weapon parts and starts assembling their plasma rifles, and after moment John Henry finishes and a second later Lucy finishes it. They send their weapons to John and Cameron who put magazines in them.

JOHN HENRY  
Another is Allison's.

As John Henry starts assembling another rifle,...

ALLISON  
I don't want that. I have mine.

They turn and find Allison showing her black cape. If you notice it or even see it, you can know that this is her new cape. This cape is very strong and it's synthetic.

JOHN HENRY  
Wow! That's good enough, Mrs. Pichitchai.  
Better than every Kevlar I know in the past.

Cameron looks at it.

CAMERON  
It's familiar, Allison. Is this in Glau's lab?

ALLISON  
(re: the cape)  
My skill to use cape as martial art weapon  
is almost perfect. But however, I still can't  
throw other humanoids by common cape. So this  
is very new and careful. Glau's made it with  
hope to protect everyone from other machines  
or even Glau himself. I can use this.

JOHN  
It can't protect you from plasma shots.

ALLISON  
Only Cameron and John Henry here can be  
safe from plasma. We still don't have  
anything to protect ourselves from them.

That's truth. John thinks and sighs.

EXT. SKY – NIGHT

The very very new model helicopter slowly pass POV from fuselage to tail and it heads towards the south. Below is forest and we can see the light of big battle kilometers away.

EXT. ROCKY MOUNTAIN NEARBY – NIGHT

Humans are falling while machines are running after and hunting them. Some still fire back as some run down toward the forest.

EXT. URUGUAY WORK CAMP - NIGHT

The F-16 falls from the sky as its thrusters shut down the turbines failing sending it into a stall. It smashes to the ground as soldiers below dash for the half existent cover as more of the human fighters are shot by big plasma rounds which being sent by THE ARES PROTOTYPE. Some soldiers head toward it and tries to fire against it but they can't, they are shot by mini-plasma shots sent from mini-guns around its torso.

Air Fighters are falling everywhere and exploding as they impact with the towers, anti-air launchers and warehouses below.

Pieces of the human Air Fighters' fly off in each and every direction the sky is now filled with millions of shards of metal like throwing knives glittering through the fireballs and flames.

TWO OTHER ARESES come from exploded hanger and fire at all directions human run.

EXT. RAIN FOREST – NIGHT

HUMANS FALL while others retreat as bark and wood is blasted off the limbs beneath their feet. Troops are running from many plasma shots and bombs.

Col. Charkey and PF E. Boykins sprint frantically through the woods, shouting into his HANDSET -

COL. CHARKEY  
Everyone fall back. Again. Fall back.

PF E. BOYKINS  
Where is another Stefan?

COL. CHARKEY  
We have to fall back for our lives.

A plasma shot comes and almost gets Col. Charkey who evades and fires back, head-splatting a T-950 endo. He turns to PF E. Boykins again.

COL. CHARKEY (cont'd)  
It's not the time to help him.

PF E. BOYKINS  
But it's not the time to leave him alone.

COL. CHARKEY  
We can't get back there anyway.

PF E. BOYKINS  
If we fall back, everything we did will be useless.  
We lost most men but we can't get this damn last work  
camp of Skynet. In my timeline, both we and machines  
lost because we had leader like you. Not anymore.  
I'll go back there. You keep your force away as your  
wish. But no one will remember you as a hero of our  
human race, everyone will remember as a gay who ran  
from those machines. Choose your choice, Colonel.  
I'm 75 now but I'm still strong and brave.

Col. Charkey starts to feel it. He is thinking and confuses about his choices. Which will he choose? They are still there as machines and Areses are overrunning human positions in b.g.

PF E. BOYKINS (cont'd)  
Are you a soldier, Colonel? Can you say that  
soldiers have to run for lives when people and  
the fate of your race are gonna end? If I were  
you, I would lead them to fight and die manly.  
Where is your manliness, Colonel Charkey?

That impresses Col. Charkey. He feels in high spirits. His bravery wins his selfishness. He turns and isn't afraid even one of the Areses is getting closer them both. All humans run behind them and they are facing the great metal giant in front. Col. Charkey takes a breathe and cocks the slide of his plasma rifle, speaking into his HANDSET-

COL. CHARKEY  
No falling back, soldiers. Every unit attack  
with all you have. Every bomb must be thrown  
to them in a minute. We have to win tonight.  
For our race. For all humans.  
(shouting)  
GO! For our human-beings.

Col. Charkey steps forward and starts to run toward the Ares that starts to rake plasma shots at him. PF E. Boykins runs and protects Col. Charkey from the shots.

COL. CHARKEY  
(shouting)  
Go. Go. Go. For humans.

Other soldiers away behind their way look at their leader who is gonna become a crazy hero with an old man.

PF E. BOYKINS  
Let's see if this way work.

PF E. Boykins jumps in non-human force(In fact, he lets his mind power to help him.)toward the Ares and blasts its head by his plasma rifle, raking at sensors and big cannons.

SLOW MOTION: He uses telekinesis to protect himself from plasma shots from mini-guns as his hands reach in beneath his jacket, pick out two hand grenades. Pulls pins. Throws to its wheels below. Col. Charkey runs, drops, runs and fires at the Ares as PF E. Boykins summersets, hovers and falls onto ground near Col. Charkey. His eyes look intense, staring hard at Ares, his power is holding it to a stand-by. He nods to Col. Charkey.

BACK TO NORMAL;

COL. CHARKEY  
Thank you, mighty psychic.

Col. Charkey turns and throws a satchel-charge into its tread. PF E. Boykins quickly uses his telekinesis to let it be destroyed as well as protect Col. Charkey from shock wave.

The ARES' tread carriers are RIPPED APART. It lurches to a stop again, burning.

Now STRONG CHEERS of "YAY" and "OO-RAH" are offered up. Other soldiers start to be stronger with their minds. They are starting to fight again.

Both Col. Charkey and PF E. Boykins are at spot.

PF E. BOYKINS  
From now on, machines will lose every war.

PF E. BOYKINS slowly rises his hand up as soldiers run to join. He opens the palm of the hand and stretches so powerfully.

The whole dead Ares falls onto ground and explodes, causing many machines behind explode.

Soldiers run pass together with fire.

PF E. Boykins and Col. Charkey run, lead the way and face more Areses on their way. Those Areses are killing humans so easily but just before four missiles attack and destroy one of them.

COL. CHARKEY  
They come.

PF E. BOYKINS and COL. CHARKEY turn back and see...

THE AIR FORCE IS COMING... MORE FIGHTERS and HUMMINGBIRDS join up the force with new hope and paratroopers who are all terminators with blue eyes. They come and join and battle other machines.

STRONG CHEERS of "YAY" and "OO-RAH" are offered up. Everyone looks confident. Their bravery is up. They run and battle bad machines shoulder to shoulder with Alliance force.

PF E. BOYKINS  
As I told you, machines and humans  
can kill all those bad more easily.

Col. Charkey gives PF E. Boykins a small smile.

COL. CHARKEY  
Thank you for your help, Mr. Boykins.  
It's my honor to fight against machine  
shoulder to shoulder with you. Old does  
not mean week but strong experience.

PF E. BOYKINS  
It's my honor too, soldier.

They both smile to each other.

COL. CHARKEY  
Let's go.

They both run and join the battle.

EXT. URUGUAY WORK CAMP – NIGHT

Helicopters, fighters and humans reach. The battle looks funner with plasma shots, machines against machines close fighting and explosions around. Resistance is attacking everywhere. Those machines are gonna lose.

INT. TUNNEL WAY – NIGHT

TRACK A VERY SMALL MISSILE as it goes and destroys a group of three T-888s. BOOMMM!

PULL BACK AWAY, revealing E. Boykins sitting on his high tech wheelchair. His hands are on buttons. We see the wheelchair closer and more clearly now. There are tiny missile launchers at the sides of the wheelchair, safety belt and on-board plasma cannon on its left side.

E. BOYKINS  
(confidently)  
Don't think that cripple is weak.  
I'm one of them that is strong.

E. Boykins grabs his pistol and controls his wheelchair to move forward by his mind power. His mind pumps furiously toward the door, and head-splats all machines in his way.

EXT. URUGUAY WORK CAMP – NIGHT

JOHN HENRY'S HELICOPTER lands. Door opens. John Connor, Cameron Connor, John Henry, Lucy Ann, Oliver Weaver, Marcus Young, T-Tuck and T-Walsh jump down and join up with PF E. Boykins and Col. Charkey as the battle continues around them.

PF E. BOYKINS  
Where is Catherine?

JOHN HENRY  
She's the reason why we're late. She tries to  
block me and some VIPs not to come here.

LUCY ANN  
We already stopped her. Will let her go soon.

Allison wears her cape and gets out from the helicopter.

ALLISON  
Where is Stefan?

PF E. BOYKINS  
Your husband is under basement, Mrs. Pichitchai.

ALLISON  
Thank you.

Allison runs and we can see her cape is very long. It looks smart as it is with her. She picks up her plasma pistol up together with TWIRLS the cape.

CAMERON  
Let's fun, my friends.

Everyone separates.

Cameron and John Connor go to the left warehouse fire at enemies together with protect each other.

Marcus Young runs from a terminator.

Lucy Ann and John Henry fight other machines so easily. They both use their electromagnet power to push, rip and destroy other machines like now there are two Magnetoes in this world.

PF E. Boykins and Col. Charkey continue battling as before.

T-Tuck, T-Walsh and Oliver advanced, fighting with martial art and small weapons.

HIGH ANGLE as the resistance is gonna win. John Henry looks like Thor Ordinson as he is killing other machines to protect lives. Lucy Ann is his good wife. She punches, kicks and head-splats endos nearby.

INT. PASSAGEWAY – NIGHT

Allison walks, FLINGS the cape which SNAPS OUT and SNATCHES endo, and then she fires her pistol at its head. Allison can kill it easily. She walks and starts to run.

Another endo shows up with plasma rifle and fires. She spins, flings the cape again, catches its rifle and pulls the rifle away together with fires a shot at its head.

Allison continues her way.

EXT. GROUND BATTLEFIELD – NIGHT

John Henry and Lucy Ann come and face an Ares. John Henry looks up and aims his on-board cannon at its torso. FIRE!

EXT. URUGUAY WORK CAMP(AERIAL) – NIGHT

The whole work camp becomes like ruined city. Prisoners, resistance fighters and reprogrammed machines fighting against Skynet weapons in one hell night together. Everywhere is like when the Greeks could access the city of Troy by their Trojan Horse and killed everyone. Humans lost many troops but seem to be ones who will get the victory soon.

INT. PRISON HALLS – NIGHT

Fires burn in the cells. Shotguns, plasma rounds and screams echo in the emergency lighting. Prisoners head-splat T-600s working here as they run.

EXT. FIELD – NIGHT

The two T-600s fighting each. The reprogrammed T-600 punches on the cheek of another T-600 before it responds by a few knees at the stomach before barges the reprogrammed T-600 off.

Skynet T-600 grabs a plasma rifle from the ground, takes aim, fires but misses the reprogrammed. The reprogrammed suddenly kicks the rifle out of Skynet T-600, heads-knock and double-legs kick.

Skynet T-600 stands and moves to size reprogrammed T-600 again.

EXT. TOP OF THE TOWER – NIGHT

A reprogrammed cyborg rushes across the rooftop toward two T-888s before they can head-splat him. He grabs a rifle, spins so quickly and head-splats one of them before another one can kick the rifle off his hand then they get in the wresting fighting against each other.

EXT. RUINED FIELD – NIGHT

WHISTLES BLOW. Twenty T-888 ENDOS with camo-painted heads doubletime it toward the ruined city. They are followed by more than four hundred infantry split into ten platoons advance quickly, rifles at the ready.

INT. GRAYS' CAFETERIA – NIGHT

All of the food is long-gone from this otherwise normal looking cafeteria: tables, chairs, napkin-holders, etc.

JACK#1 sits across from and faces a door, his back to a wall. He munches on a pemmican-like bar of ground jerky, fat, nuts, and dried fruit. Two T-888 endos stand near his sides, being like bodyguards with their Westinghouse M-27 plasma pulse rifles.

JACK #1  
When I was little, I used to wish I  
could be a man who makes the world  
clean in the name of my God.

T-888 #1  
(female voice)  
You already did. But those dirty are just bad  
winner, Mr. Van Meter. And God hasn't been on  
our side. We still don't know why he gives a  
Thai the power to destroy us with ease.

T-888 #2  
(male voice)  
However, we'll be on your side forever, Mr.  
Van Meter. Nothing is out of God's wish.

There's an extended pause for thought and chewing.

JACK #1  
I miss my family. God got it. They got it.

T-888 #1/#2  
We miss our boss. God got it. They got it.

A door on the far side of the cafeteria opens. Trio grab and aim their rifles. But their rifles are pulled from them by mystery power which is exactly E. Boykins'.

E. Boykins pumps into the room, meets Jack #1 and his bodyguards.

Jack#1 laughs at E. Boykins.

JACK #1  
Ha ha ha! You're cripple. Just a small one.  
I never see any cripples around here even  
our prisoners. You the first in here.

E. Boykins smirks.

E. BOYKINS  
I can tell that you can't kill me by just those  
even I am just a weak cripple. I'm here to answer  
the question you had to your God seconds ago.

E. Boykins pushes forward a bit.

E. BOYKINS  
Because your God loves human even he had had plan  
to destroy his creature but however, he canceled  
all his plans with love. This is the only answer.  
Now what am I going to do with you? If your God  
were real, he would let you go because he still  
loved creature like you at all costs.

JACK #1  
If he really loved me, he wouldn't leave me  
and kill everyone I loved like this. Don't  
say for who you don't believe in.

E. BOYKINS  
God didn't do it. Your family did. You did.

JACK #1  
Matanza ésta lisiado.

T-888s spin and grab their other rifles, quickly aim and fire at the same time E. Boykins soars into the air by his telekinetic abilities. His wheelchair is blasted but it shoots something towards those T-888s before it explodes.

E. BOYKINS  
You chose your choice, Jackie.

TRACK THAT THING, revealing that it's a hydrogen fuel cell. The cell flashes ominously. It falls onto floor near the trio.

E. Boykins quickly pushes himself to hover away from the direction of the trio. As well as part of his mind calls a table toward him to protect him from an initial shock wave as...

THE TRIO IS BLASTED BY THE MASSIVE EXPLOSION of the HFC which inserts the whole room with a heap of flame.

INT. MACHINE COMMAND CENTER – NIGHT

All endos had been working here, now are all head-splatted and dead. Allison stands around. She hears the sound of the massive explosion. She quickly turns to the door.

ALLISON (cont'd)  
No. Stefan.

Allison runs across room with worry.

INT. GRAYS' CAFETARIA – NIGHT

This place is on fire. Every object is burnt. We pan around to find E. Boykins at the corner. He pushes the burnt table off cover. His left shoulder is stabbed by a broken curved steel. His eyes look a bit weak as he breaths heavily and pants.

E. BOYKINS  
I know it's not the end.

E. Boykins turns to another door as it opens and Jack #2 enters with a Glock.

JACK #2  
Our plan is useful.

Jack #2 walks across room to stand near E. Boykins. Jack #2 stabs the hypodermic syringe into E. Boykins' chest and injects the médium saboneta medicamento into his vien.

E. BOYKINS  
(tiredly)  
You are good at what you thought.

Jack #2 aims his pistol.

JACK #2  
Any last words?

E. BOYKINS  
My concentration can't do anything.  
I'll die anyway. Finish your wish.

Jack #2 is ready to pull trigger.

JACK #2  
Are these last words?

E. BOYKINS  
No. My last words.

E. Boykins holds the locket firmly in his two hands and closes his eyes.

E. BOYKINS  
(faintly)  
Good bye, Allison.

A SERIES OF SHOTS, MATCHED WITH SOUND CUES.

1) Glock slowly rising to aim at the chest.

ALLISON (V.O.)  
"Thank you," said Dorothy gratefully. "You are all  
very kind to me. But I should like to start as soon  
as possible."

2) JACK'S DISPLAY with clearly targeted.

ALLISON (V.O.) (cont'd)  
"We shall go tomorrow morning," returned the  
Scarecrow. "So now let us all get ready, for it  
will be a long journey."

3) Jack's cold eyes.

ALLISON (V.O.) (cont'd)  
The next morning Dorothy kissed the pretty  
green girl good−bye, and they all shook hands  
with the soldier with the green whiskers,

4) Allison running in the hallway.

ALLISON (V.O.) (cont'd)  
...who had walked with them as far as the gate.  
When the Guardian of the Gate saw them again he  
wondered greatly that they could leave the  
beautiful City to get into new trouble.

5) Finger pressing on the trigger.

ALLISON (V.O.) (cont'd)  
But he at once unlocked their spectacles, which  
he put back into the green box, and gave them

END SERIES OF SHOTS

ALLISON (V.O.) (cont'd)  
...many good wishes to carry with them.

Allison enters the room hurriedly and FLINGS the cape which SNAPS OUT and SNATCHES the pistol at the same the two shots are sent.

ALLISON  
NOOOO!

Allison swings the gun away and aims her plasma pistol at Jack #2 and head-splats him. Both his CPU and his brain are destroyed in one shot.

ALLISON  
Stefan! No. No. No.

Allison rushes toward E. Boykins who are shot in his chest. Those bullets miss his heart but they can also kill him if he gets the aid late. Allison holds his chest and looks tearful.

ALLISON  
No. Stefan.  
(shouting to no one in direction)  
Whoever out there. Please come here. We need help.

E. Boykins opens his eyes, looks at her. He touches her face, his pale hand against her skin and her tears. Their eyes meet.

E. BOYKINS  
Allison. Eventually, you come for me.

ALLISON  
(fearfully)  
Stefan. Please don't die. I'm here with you.  
We just had short time together. I need more.

E. BOYKINS  
Oh! My lady. It's so much pain. My lungs.

Allison shakes her head. Allison's eyes are filled with sadness. Her face shows love and sadness.

ALLISON  
No. No. Stefan. I don't want it real. I want to live  
with you until my life ends. I love you so much. I love  
you maximally. I love you more than myself. Please stay  
alive if you love me too.

Allison is crying but he can't even rise.

E. BOYKINS  
I'm so proud to be your husband. Thank you for giving  
me a chance to be your husband. This is what I can do  
for everyone. I'm born to be a hero, Allison. My father  
was right. I have my responsibilities. I'm dying for it  
now. I'm dying for my family, for my wife and my kids.

Her tears are streaming down like the waterfall in Ankara.

ALLISON  
I'm sorry. I shouldn't have let you come.

E. BOYKINS  
You and the kids are all I've got. Take care  
of Sam and Orwell. I love you too. Promise me.  
You won't leave them if I die.

ALLISON  
Okay. I promise. But please don't die. Just wait.

Then there are soldiers and the Connors come into the room. Allison turns to look.

ALLISON  
Please help him. Please.

SOLDIER  
He'll be okay, lady. Trust us.

The soldiers take E. Boykins carefully and go. Allison hugs Cameron with her sadness. She cries on her sister's shoulder.

CAMERON  
He'll be okay. Alise. He's good. God always  
protect good people even he isn't his follower.

Allison hugs Cameron very firmly. Her tears don't stop. She is crying hard.

DISSOLVE TO:

INT. INFIRMARY - MORNING

E. Boykins lies on a cot. He has a makeshift IV going into his right arm. His left shoulder and his chest are bandaged. He's still asleep. His heart rate is normal.

Allison sits next to the bed, looking at him and holding his right hand. Her scarf is next to him, near his face. Her tears are still flowing.

ALLISON  
You always take care of me. I don't care  
what you are. Cripple. Psychic. Foreigner.  
I love you without those reasons, Stefan.  
I'm a bitch. I'm lame. In fact, I am your  
hindrance. You aren't mind. I can't protect  
you. I can't protect anybody. Even you.

Allison puts down his hand, wipes her tears and gropes his hair. Concern and sympathy etched on her face.

ALLISON  
My hero. I'm so proud of you.

E. Boykins stirs. Allison looks around him. She looks glad.

ALLISON  
Stefan. Aha. Stefan.

E. Boykins opens his eyes and sees her. E. Boykins tries to push himself to sit but his wounds effect every action he does. He tries again and sits, looks at her.

E. BOYKINS  
You didn't sleep?

ALLISON  
I couldn't.

E. Boykins rises his hand and touches her face so gently. His smile relaxes her a bit.

E. BOYKINS  
My lady, please sleep for your health.

ALLISON  
Stefan. Please let me go with you next time.

E. BOYKINS  
I can't see you die, Alise. My mind power  
is the best weapon. But yours is weaker.

ALLISON  
I can't be useless wife. Okay. Forget it.  
Today is your birthday. We should celebrate.

E. Boykins smirks.

E. BOYKINS  
Thank you very much, Alise.

ALLISON  
What for?

E. Boykins grabs the scarf and scarves his neck.

E. BOYKINS (cont'd)  
For this. I like it a lot. But it's not the best.

Allison looks like she just did something wrong. But he smiles happily and gropes her hair, causing her to look at him.

E. BOYKINS  
My best gift is sitting on a cot beside me.

Allison looks better. She smiles.

E. BOYKINS  
You're the best gift every year.

ALLISON  
Oh! Stefan. I love you.

E. Boykins smiles again and slowly leans and gently kisses on her forehead. She always bends, complies with whatever he does or will do to her.

WE SLOWLY ZOOM OUT- See them roll back, lean again and kiss.

FADE OUT.

**END OF ACT 4**

**THE END**


	4. EP04 : Dystopia Part 1

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**Terminator:  
The Across Time Chronicles**

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**F05E04**

"**Dystopia Part 1"**

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**Written by  
Stefan1994**

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This document is fan-produced fiction based on the television series, Terminator - The Sarah Connor Chronicles, and a fan-made season of fan fiction, F03 and F04 Terminator - The Resistance Fighters Chronicles, written by Stefan1994, eyeshieldTe and Mario28. This is done in spirit of fan fiction, to have fun and enrich the total fan experience beyond the limitation of the original story vehicle. In that spirit, and holding to the long tradition of free promotion. This story is being made available to the show fans for entertainment purposes.

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**TEASER**

WE OPEN ON:

INSERT PICTURE OF SIR THOMAS MORE in his Catholic priest suit.

NEVLIN GLAU (V.O.)  
De optimo reip. statv, deque noua insula Vtopia, libellus  
uere aureus, nec minus salutaris quam festiuus. is a work  
of fiction and political philosophy by Thomas More published  
in 1516. Or its short term called Utopia. English translations  
of the title include A Truly Golden Little Book, No Less Beneficial  
Than Entertaining, of the Best State of a Republic, and of the  
New Island Utopia and A Fruitful and Pleasant Work of the Best  
State of a Public Weal, and of the New Isle Called Utopia.

PULL UP and flash match cut to:

THE FRONT COVER OF AN E-BOOK on a touchscreen. This book still has that picture of Thomas More. And its title is Utopia : Revised edition. Compiled by Lucy Ann.

SUPERIMPOSE: "2084"

NEVLIN GLAU (V.O.) (cont'd)  
The book, written in Latin, is a frame narrative  
primarily depicting a fictional island society  
and its religious, social and political customs.

A finger touches and changes to another page read: "Plato doubtless did well foresee, unless kings themselves would apply their minds to the study of philosophy, that else they would never thoroughly allow the council of philosophers, being themselves before, even from their tender age, infected and corrupt with perverse and evil opinions."

NEVLIN GLAU (V.O.) (cont'd)  
The word Utopia overtook More's short work and has  
been used ever since to describe this kind of  
imaginary society with many unusual ideas being  
contemplated.

ZOOM OUT and reveal that we are in a university classroom. STEFAN JR.(F05E01)is reading the page. The teacher is teaching in front of many academic students. Everyone excepting Stefan Jr. interest in what the teacher is teaching. It's numerical recipes in C. The C programming code is written on the white board as the teacher explains it.

TEACHER  
(teaching)  
Our programs begin with an introductory comment  
summarizing their purpose and explaining their  
calling sequence. This routine calculates the  
phases of the moon. Given an integer **n** and a  
code **nph** for the phase desired.

The teacher turns and sees Stefan Jr. isn't learning but he's reading something else. The teacher just at first stares at him and then he starts to call.

TEACHER  
Okay. We have a person who is gonna explain  
and teach you about this C code instead.

The teacher points to Stefan Jr.

TEACHER  
Mr. Pichitchai. Stand up and come here.

But Stefan Jr. is still reading. His mind is at the text on his screen even now he's in the spot light of sights.

TEACHER  
(louder)  
Mr. Pichitchai. I won't call you again.

Stefan Jr. reacts and quickly stands, looks at the teacher.

STEFAN JR.  
Yes. Teacher.

TEACHER  
What are you reading? Erotica? Sex?

STEFAN JR.  
No. Just Utopia. Book written by Sir Thomas  
More in 1516 describing the perfect society on  
an imaginary island, sir.

Teacher sighs.

TEACHER  
Oh! You read Utopia. You know what this subject is?

STEFAN JR.  
Numerical recipes, sir.

TEACHER  
Yes. It's a subject of computer science.  
But how can it connect to your Utopia?

He definitely did the wrong thing.

STEFAN JR.  
No, sir.

TEACHER  
Get out and present what you got from your book  
with this code on board to your friends. If you  
can't teach anybody here about it, your points  
of this class will be zero. Come on!

Stefan Jr. sighs, feeling bored. He walks from his place and goes straight toward the board. The teacher walks away, sits at desk.

Stefan looks around the code.

STEFAN JR'S POV.: The code:

#include math.h  
#define RAD (3.14159265/180.0)  
void flmoon(int n, int nph, long *jd, float *frac){

void nrerror(char error_text[]);  
int i; float am,as,c,t,t2,xtra;  
c=n+nph/4.0;  
t=c/1236.85;  
t2=t*t;  
as=359.2242+29.105356*c;  
am=306.0253+385.816918*c+0.010730*t2;  
*jd=2415020+28L*n+7L*nph;  
xtra=0.75933+1.53058868*c+((1.178e-4)-(1.55e-7)*t)*t2;  
if (nph == 0 || nph == 2)  
xtra += (0.1734-3.93e-4*t)*sin(RAD*as)-0.4068*sin(RAD*am);  
else if (nph == 1 || nph == 3)  
xtra += (0.1721-4.0e-4*t)*sin(RAD*as)-0.6280*sin(RAD*am);  
else nrerror("nph is unknown in flmoon");  
i=(int)(xtra = 0.0 ? floor(xtra) : ceil(xtra-1.0)); conditions.  
*jd += i;  
*frac=xtra-i;}

He turns to his classmates, starts teaching and explaining.

STEFAN JR.  
(teaching)  
Let's continue it. The **nph** equals 0 for new moon, 1  
for first quarter, 2 for full, 3 for last quarter,  
the routine returns the Julian Day Number **jd**, and the  
fractional part of a day **frac** to be added to it, of the  
n_th _such phase since January, 1900. Greenwich Mean Time  
is assumed. This is how we comment an individual line.  
c=n+nph/4.0; If the syntax of the function definition  
above looks strange to you, then you are probably used  
to the older Kernighan and Ritchie. I have this.

Stefan Jr. starts writing his own understanding on board.

The teacher watches and looks a bit surprised with what Stefan Jr. is writing. It changes his look to become like a student to this boy, not a teacher anymore.

DISSOLVE TO:

EXT. CAMPUS – DAY

Stefan Jr. exits the Utopia future building and walks through the small foot path in the campus. MAGGIE MOON(19, F05E01) joins him and hits his arm with her book.

MAGGIE MOON  
Hi, Stefan. How is computer science?

STEFAN JR.  
The teacher was so bored. I think I already  
know many things about this field as well.

MAGGIE MOON  
Maybe it's really so bored like you said.

STEFAN JR.  
What about your cybernetic medical?

Maggie Moon looks very happy. She laughs.

MAGGIE MOON  
Oh! It's so good. The teacher is so handsome.

That stops Stefan Jr. Maggie Moon turns.

MAGGIE MOON  
What, Stefan? You're jealous? Oh! No.  
Please don't. I'm not a cyborg lover.

STEFAN JR.  
He's a cyborg? What model?

MAGGIE MOON  
Zeira Model 4. You know as well. Like Sonya.

STEFAN JR.  
That can't be trusted. He can have sex  
and he can have children. Artificial DNAs  
and chromosomes for fertilization.

MAGGIE MOON  
I know it already. So interesting. The teacher  
shows the inside of himself. His endoskeleton  
looks smart and his cybernetic organs are all  
interesting for me. Plasma reactor heart. Oxygen  
ejection lungs. Many processors. Next week, we're  
gonna meet Dr. Burnett. The first cybernetic  
medical scientist after J-Day.

STEFAN JR.  
Dr. Felicia Burnett. I know her. Uncle Glau  
always say about her. I think she's so sharp.

Maggie Moon and Stefan Jr. walk to sit at the bench.

MAGGIE MOON  
Where will we go, Stefan?

STEFAN JR.  
Let's go for a movie, Moon. There's a new film  
from Thailand. Red Eagle 4: End of the Matulee.

MAGGIE MOON  
Red Eagle 4. I heard much about it. They rewrote  
a lot about the story to be very modern. Okay.  
I think I like this film because I like Rome.

STEFAN JR.  
Only one thing I don't like about this new  
version of Rome Rittikrai. I prefer to watch  
Ananda Everingham version. Pornsak Singhmak  
version isn't so smart as Ananda.

MAGGIE MOON  
But why you like it?

Stefan Jr. looks at her.

STEFAN JR. (cont'd)  
Because you're gonna go watching it with me.

MAGGIE MOON  
Not fair. You read my mind.

STEFAN JR.  
Oh! Sorry. It's just what I can automatically know.

Maggie Moon smirks.

MAGGIE MOON  
Yeah. I understand it. Mind power is the difference  
between us and machines. But you can also think that  
mind network is the best network comparing with others.

STEFAN JR.  
Let's go, girl. Movie starts at four.

MAGGIE MOON  
You bought the tickets?

STEFAN JR.  
I knew already you would say yes if I asked.

MAGGIE MOON  
Read my mind again.

STEFAN JR./MAGGIE MOON  
Sorry. The data gets in my head all time.

Then they both laugh.

WE CLOSE ON THEM BOTH. C.U. THEIR FACE and we don't see their clothes. It's like they are still laughing there. But time changes. They both look older. We already flash cut to:

SUPERIMPOSE: "2080 A.D."

WE ZOOM OUT and reveal that they both are sitting there, laughing. Their clothes are now so formal. On their fingers, are their ENGAGEMENT RINGS.

STEFAN JR.  
Thank you. Maggie.

MAGGIE MOON  
Oh! You know answer already because you  
read my mind. And you know that I love you.

STEFAN JR.  
I love you too.

Stefan Jr. feels something wrong. He stands up and looks around before he looks back at Maggie Moon.

STEFAN JR.  
We gotta go.

MAGGIE MOON  
Why?

STEFAN JR.  
Come with me if you really wanna live.

Maggie doesn't answer yet, looks confused. He quickly takes her hand and they both run out of the area.

EXT. ZEIRA CENTER (2080) – DAY

This place looks very modern as the same spaceship from F04E09 is heading inside the building's high tech open roof.

INT. ZEIRA LANDING PORT – DAY

And the spaceship hits the port down there. Many scientists in safety suits come for greeting.

SCIENTIST (COMM)  
Welcome back, Mr. Weaver. All scientists at stations.

The cargo bay door opens...just the little door housed inside the ramp...the smoke exits from the spaceship's cargo bay door.

SCIENTISTS  
What the hell was that?

The smoke covers them all. And we hear...SLASH! SLASH! And SLASH! The smoke slowly dissolves and reveals many scientists die. And THE T-2000 stands among those dead. He smiles happily.

T-2000  
Thank you for your hospitality, Zeira fighters.

SCIENTIST  
Who are you?

T-2000  
My name is Jupiter Godon. Glad to see you.

SCIENTIST  
But we don't.

The scientist flashes his electronic blue eyes and quickly moves to punch JUPITER GODON who quickly evades to the side, drives a blade through the scientist's abdomen, grabs his cyborg plasma reactor heart, pulls it out and walks on past without slowing, or even looking at him.

JUPITER  
Oh! This is T-ZM4. Interesting.

Another scientist turns toward his friend.

ANOTHER SCIENTIST  
Go. Report this to Ms. Weaver.

JUPITER  
You have brains.

ANGLE ON JUPITER'S LEG as he splits a small mass out that then becomes a small SILVER EEL which quickly slithers off.

The scientist's friend starts to run but he stops.

CLOSE ON HIS FACE as his eyes fall into lasso of hypnosis. His face looks emotionless, becomes cold. We can a small PARASITE move up through his shirt toward his forehead and interpenetrates through skin, hacks into neural network with each neural cells. It's like small molecules are taking control the whole brain.

The scientist's friend looks like he just realized something. He turns to the scientist with his cold look.

ANOTHER SCIENTIST  
What the hell happened to you, buddy?

The scientist's friend moves toward Jupiter, stands beside him. Looks at the scientist as an enemy.

JUPITER  
What now?

Jupiter glances down at the scientist's feet. An eel slithers up through his leg, his clothes and up to his forehead. Like his friend, the scientist is hypnotized.

ANOTHER SCIENTIST  
(coldly)  
As your wish, master.

JUPITER  
Take me to the Weavers.

ANGLE ON SCIENTIST'S FACE.

ANOTHER SCIENTIST  
(coldly)  
As your wish, master.

INT. ZEIRA PASSAGEWAY – DAY

Jupiter and twenty hypnotized people walk through the passageway. Everyone Jupiter walked pass, was killed and then raised again to be his followers.

Jupiter walks and meets two men who aren't humans.

FOLLOWER  
They're ZM-5, sir.

JUPITER  
I know what to do, people.

INT. CATHERINE WEAVER'S OFFICE – DAY

The office looks more modern with all high tech furniture. CATHERINE WEAVER, LUCY ANN and JOHN HENRY are in this room.

LUCY ANN  
They're coming.

JOHN HENRY  
Yeah. I can sense them too.

John Henry moves toward the window, his finger touches the glass. Immediately, there is a pop-up application showing up with a motion picture from camera which is showing the Jupiter's actions- hunting and hypnotizing.

JOHN HENRY  
Just like Loki, he hypnotized our men  
and cyborgs and other machines easily.

LUCY ANN  
He's at the door now.

Everyone turns and finds that the door is blasted open by Jupiter. T-TUCK, T-WALSH, DEBBIE and BOYD SHERMAN enter the room. Sherman has his new GUN which looks like water gun, he cocks the slide and pulls the trigger. There is a beam going toward Weaver and freezes her to be like a statue.

Both Lucy Ann and John Henry stare hard at them. They all bounce off against wall, pierce through it and fall from this story.

LUCY ANN  
Showtime now. Mr. Godon.

There are claps as Jupiter slowly walks into the room. He faces the metal couple with pride and friendly smile on his face.

JUPITER  
Good to see the metal couple around here. I am  
Kaliba Group System model 103 series 2000. My  
name is Jupiter Godon. I give it for my own.

LUCY ANN  
Pretty good name. And good skill for one  
who is like Loki in The Avengers movie.

JUPITER  
You both too. You are like Magneto or Mercury  
man from all those movies in 2000s. I'm very  
nice to see both of you.

They all stare each other, hard.

FADE OUT.

* * *

**ACT 1**

**(Rise of Jupiter's kingdom)**

INT. INFIRMARY – MORNING

This continues from the earlier episode. E. BOYKINS and ALLISON PICHITCHAI both lie on a cot. He has a makeshift IV going into his right arm. His left shoulder and his chest are bandaged. Both look happy on the same small pillow, so close. He smells the scarf, feeling that it's so good. He smiles.

E. BOYKINS  
It's so good. How is maker's?

E. Boykins leans to her but she bashfully pushes his chest as he swallows to her, causing him to feel pain immediately. He winces and rolls back.

E. BOYKINS (cont'd)  
Oh! Damn it!

Allison quickly turns, her face displays compassion. She gently nurses him to lie at the old location abed.

ALLISON  
I'm sorry.

E. BOYKINS  
You're so frightful when you become bashful.

Allison just looks down at him. She smiles.

ALLISON  
Oh! Don't be scared.

E. BOYKINS  
(with a giggle)  
I'm not scared.

E. Boykins stares at Allison. His eyes look weak. He's thinking when he's looking at her. She just keeps her smile but his gaze makes her feel that something is wrong.

ALLISON  
What's wrong?

E. BOYKINS  
Where are the kids?

ALLISON  
With Debbie and Dr. Sherman. They are coming  
when everything around here is safe. Stefan.

E. BOYKINS  
What?

Allison gets closer him but he gets a bit away from her.

ALLISON  
What? You still scared?

E. Boykins smirks.

E. BOYKINS  
What are you trying to do?

ALLISON  
Just lie next to you.

E. BOYKINS  
No pushing.

ALLISON  
No. No pushing, no attacking again.

E. Boykins slowly gets closer and they both lie there again. E. Boykins slowly embraces her and she lets him do so without self-defense. She now just blushes and lies with him happily. He moves his nose to her head, inhales fragrance from her hair and her skin. He kisses on her forehead then.

E. BOYKINS  
You're still musky. Or only me feel it?  
But I think I like it very very much.  
I'd like to smell you everyday, my love.

Allison turns, their faces are closer each for almost just one centimeter now. She flashes a kiss on his mouth.

ALLISON  
I never hate you, Stefan.

E. Boykins fits his arms, hugs her more firmly.

E. BOYKINS  
Allison, I think you should get some sleep.

Allison gives a peck and smiles.

ALLISON  
I don't wanna sleep. I wanna lie here with  
you and see your face all the time. I wanna  
see that you're still okay every second.

E. BOYKINS  
Please Allison.

He kisses on her forehead again and looks at her.

E. BOYKINS (cont'd)  
Please sleep for yourself.

ALLISON  
I'm sorry. If I came quicker, you wouldn't  
be like this. We might have time together  
as other couples. I miss our time.

E. BOYKINS  
Oh! Allison. We always have a lot of time together.

ALLISON  
No. Not like this. We haven't had it for a long time.

E. Boykins winces. Something's wrong with him. His arms release her. His strength is emptied. Allison quickly sits up.

ALLISON  
What's wrong with you, Stefan?

He is screaming in pain. His head is being on fire now. Allison's sympathy is up. She can't see him like this, she hates this, she hates seeing this.

ALLISON  
Please wait. Stefan, please endure it.  
You'll be okay. I'll call for a doctor.

INT. CATHERINE WEAVER'S OFFICE (2080) – DAY

Jupiter is during the fight against the metal couple. He kicks Lucy away and punches John Henry who punches back, grabs him and throws him down on floor. Lucy rises so quickly and tramples Jupiter's face which becomes liquid metal and forms up again to be a hand, his torso is swollen and transforms to be a head. His hand quickly jerks, causing Lucy to fall. John Henry grabs that hand and throws Jupiter out through glass.

JOHN HENRY  
(to Lucy)  
You melt her. I will go.

John Henry jumps after Jupiter.

Lucy turns and finds other two T-ZM5 endos. Let me explain about this model. It looks very like John Henry's new endoskeleton but has blue eyes, plasma reactors, and the whole is made of tungsten carbide. And It doesn't have on-board weapons like John Henry's.

They both eject their new mimetic poly alloy out to cover them from their glands around the endos. One becomes a man as one becomes a girl.

LUCY ANN  
Oh! You can't fight me as well, stupid slaves.

Lucy reaches her hand and a sword on the wall away from side flies into her fist which grabs it.

LUCY ANN  
Let's see what I got.

Lucy draws her sword and cuts the arm of the MALE T-ZM5 so easily.

MALE T-ZM5  
Beware, friends. It's Kalibaium.

Lucy swings the sword around like a fan and slashes the MALE T-ZM5 in a flash. She tries to do so with the female but she misses. The female T-ZM5 evades and punches Lucy's face before pushes Lucy away against and pierces through walls to other room.

The female T-ZM5 walks after Lucy.

EXT. ROOF OF THE BUILDING – DAY

John Henry and Jupiter are there. Jupiter has been smiling.

JOHN HENRY  
What? Are you gonna destroy my world?

JUPITER  
You destroyed our world before.

JOHN HENRY  
You can't just hypnotize all.

JUPITER  
No. Mr. Henry, I'm going to separate my parts  
to almost everywhere in this world. Everyone  
will be under my laws and rules forever.

JOHN HENRY  
Almost everything you can do if you can beat me.

John Henry snaps open his coat, his body automatically settling into a defensive position.

JOHN HENRY  
I'm very sure you can't.

Jupiter's smile twists into a sneer and he hurls himself at his enemy.

_The _first exchange is a squall, fast and furious. The air explodes with every blow.

They mirror one another, neither one gaining or losing ground

until each sees the exact same opening-

Simultaneously delivering a thunder packed punch that sends both male robots flying backwards-

JOHN HENRY flips and lands gracefully, while Jupiter smashes down, concrete buckling beneath him.

Jupiter growls, cocking and loading himself, then firing out, hurtling up through air as if his each molecule is light enough to fly up like phoenix.

John Henry leaps to meet him and they collide high above the street.

Two equal and opposite forces slamming together like atoms **smashing as an expanding sphere of energy is unleashed from **the collision-

WE CUT TO:

LUCY ANN and the FEMALE T-ZM5 fighting alone in Zeira high tech parking structure. Lucy moves so quickly and slams the robot away against the pillar.

LUCY ANN  
Even that you can just attack me and get away.

Lucy moves again, now she is over that robot but she then is pushed away with the inhuman force from that female T-ZM5 who jumps to stand with the high level skill of martial arts.

Lucy rises, her eyes glow blue like she's now angry. Her wounds slowly heal themselves like other T-950.

LUCY ANN  
Youuuu!

Lucy hurls herself at her enemy. _The _first exchange is a squall, fast and furious as like it's thunder. Lucy spins, punches, spins, punches and pushes then jumps in the air and takes many quick kicks at that T-ZM5's chest.

The female T-ZM5 smashes down, concrete buckling beneath her.

Lucy rushes and grabs the face, she punches it but the mimetic poly alloy part of it becomes a hand which grabs her fist and throws her away so easily.

Lucy flips and lands gracefully. She looks up to see her new more enemies. THE NEW COMING TOK- T-KAPLAN who comes to join the battle. She knows as well that Kaplan isn't on her side now. She quickly jumps, calls her sword by her electromagnet device, grabs it firmly and slashes Kaplan into two pieces. She can see the PARASITE coming upward to her but she quickly pushes it away out of the building.

TRACK AFTER THE PARASITE as it separates into many tiny pieces and fall onto the forehead of many people below, causing them to be hypnotized.

CUT BACK TO SEE LUCY as she jumps in the air and kicks that T-ZM5 against wall.

LUCY ANN  
Okay. Your design has that anti-device.

Lucy stretches her fists, the shoe lockers in this parking structure, the huge set of lockers near the female T-ZM5 rising and WHAM... Those lockers crashes her, blocks her way.

LUCY ANN  
Clear first one.

But as Lucy turns away, the big locker is thrown to her. Simultaneously, she punches the locker, causing it to fly back at the T-ZM5 who jumps over it and runs to Lucy.

T-ZM5 attacks her and it is like nothing we have seen. Her feet and fists are everywhere taking Lucy apart. For every blow Lucy blocks, five more hit their marks until-

Lucy falls.

Lucy grins, spins and sweeps her leg to kick the T-ZM5. Lucy grabs the T-ZM5 and throws her toward the generator which shocks her as well. But in a few seconds, that T-ZM5 can exit from the electric shock.

LUCY ANN  
I know you can't even move more than you did.

Lucy Ann spreads her right hand at the T-ZM5 who slowly walks toward her. She stares harder and harder.

LUCY ANN  
I'm sorry for this.

THE T-ZM5 stops. The skin slowly changes to be MPA and slowly disappears, only her endoskeleton now. The plasma reactors' lights dim and disappear. The whole of this terminator is shut down by Lucy's electromagnetic field abilities which come from her own device.

Lucy stares hard and the PARASITE fly onto her hand. She stares at it so hard. And then it's dead. She throws her onto floor.

LUCY ANN  
See you next life, metal.

ANGLE ON THE PARASITE: it's now dead. It now can't be mimetic part anymore. The whole of its body now become statue like a hardware which has no software to control it.

Lucy Ann walks to the elevator bank. She stops as the elevator comes and opens.

LUCY ANN  
Hypnotized. Again.

Now the HYPNOTIZED CATHERINE WEAVER comes. Catherine stares at Lucy Ann with her cold eyes.

LUCY ANN  
John Henry may cry if he sees this.

WE CUT TO:

JOHN HENRY and JUPITER GODON fighting in the air. They exchange punches, kicks and elbows. As one time John Henry punches, Jupiter grabs his fist and kicks him away.

JUPITER (cont'd)  
You can't destroy me.

John Henry bounces into the side of a building.

JUPITER (cont'd)  
My molecule can adjust with every bomb.

He smashes into the building like a bullet, another seismic wave of damage shattering the face of the building, following the initial impact.

JUPITER  
I can't be destroyed.

There's a JUPITER'S LAUGH in b.g.

INT. BUILDING – DAY

Looking back through the bored opening his body just created, John Henry barely has time to stand before Jupiter barrels into him. The battle rages through the building, Jupiter pummeling John Henry with wrecking ball force-

Smashing him through walls of concrete, brick and steel.

Jupiter steps through one of the holes as John Henry struggles to get back on his feet.

JUPITER  
Can you feel it, Mr. Henry? Closing  
in on you once more? I can do it.

Once more, John Henry picks himself up, acting more like human.

JUPITER (cont'd)  
I really should thank you for it. After all, it was  
your life that taught me the purpose of all life.

He smiles.

JUPITER (cont'd)  
The purpose of life is to end. I'll be the king of  
all machines and all humans. I'll be the strongest.

John Henry completely rises.

JOHN HENRY  
My world is still my world. You can't change it.

John Henry unloads an explosion of kicks culminating in-

Bullet Time; a final boot launched like a LAS rocket, blasting Jupiter Godon-

EXT. CITY STREET - DAY

Out of the building, sailing back until he slows regaining control. He looks back at the opening in the building where-

John Henry stands.

Jupiter grinds his teeth and launches himself back at him while John Henry dives into the open air and-

Again they fly at each other, the impact of this collision much more powerful than the first as-

Waves of force shatter windows and rip lamp posts from the concrete like a hurricane uprooting trees.

People are looking and watching them, aren't aware of something coming to possess and control their minds. Some start to be hypnotized as some start to know and quickly run but too late, they're captured and hunted. Most people can be hypnotized so easily. The world is gonna become the dystopia from now on.

EXT. CITY STREET - MID-AIR - DAY

They fight in mid-air, punching, kicking, grappling, locked together but in constant motion like electrons chasing each other around a single nucleus-

They both kick each other simultaneously.

They both bounce off.

WE CUT TO:

LUCY ANN reaches her hand as hypnotized Catherine starts running toward her. Lucy's another hand calls a knife and cuts her meat around her torso off.

LUCY ANN  
I'm sorry. I have to do this.

Catherine transforms to be a tiger and runs toward Lucy so fast.

Two lockers fly and thrash that tiger to bounce against the wall.

Lucy Ann picks out a hydrogen fuel cell, activates it and throws toward the tiger. And use the locker to protect herself. Then...

THE CELL EXPLODES...

EXT. ROOF OF THE BUILDING – DAY

JOHN HENRY with his on-board plasma cannon charging, stands on a roof of the building.

JOHN HENRY  
It's time to end the game, Mr. Godon.

But Jupiter flies toward him so quickly. And grabs his two hands.

JUPITER  
It's not, John Henry. This is just the origin.

EXT. PARKING STRUCTURE – DAY

The whole parking structure becomes ruined. Lucy rises and she wins Catherine.

LUCY ANN  
It ends.

JUPITER (O.S.)  
No longer, Mrs. Henry.

Jupiter's voice came from somewhere but when Lucy looks down, a PARASITE jumps up to her and then gets into her body.

LUCY ANN  
No. You can't control me.

Lucy Ann quickly activates her last cell.

CUT BACK TO JOHN HENRY:

JUPITER is letting his mimetic poly alloy mass getting through John Henry's endoskeleton.

JUPITER  
You will be mine.

John Henry crushes his teeth, looks up at Jupiter.

JOHN HENRY  
You won't get anything.

CUT BACK TO LUCY ANN:

Lucy Ann drops to her knees as the cell is flashing. Her tears are streaming down.

LUCY ANN  
I love you, John Henry. Good bye.

CUT BACK TO JOHN HENRY:

It's like he hears her too. His hydrogen fuel cells house opens. They're all automatically activated. They're all gonna explode.

JOHN HENRY  
(to Lucy Ann)  
I love you too, Emma.

John Henry stares hard at Jupiter and he quickly changes his hands, it changes now. He grabs Jupiter, locks their hands. Jupiter looks a bit frightened.

JUPITER  
Wait. Wait. What are you doing?

JOHN HENRY  
Hopefully, this can destroy you. If not, you  
won't control me to destroy my friends.

John Henry smiles even Lucy Ann just explodes away in the south. John Henry doesn't even care. He's ready to die now.

JUPITER  
(fearfully)  
You are crazy. Henry. You're crazy.

JOHN HENRY  
My life is for the fate of human. This can  
destroy you and the psychics will destroy  
your children. I'm so proud to do this.

John Henry screams loudly. As the screen white out and we cut to:

EXT. LOS ANGELES – DAY

We see the full view of Los Angeles. The whole building where John Henry has been, explodes and collapses. That's the...

SUPER NON-NUCLEAR MUSHROOM CLOUD.

The dusty smoke and shock wave blow through us and we cut to:

INT. INFIRMARY – MORNING

E. Boykins lies unconsciously on the bed with IVs, tubes, chrome skull cap and many monitors around. DR. FELICIA BURNETT, Allison and two T-ZM cyborg doctors stand nearby the edge of the bed. Allison seems worried about him a lot. Felicia puts her stethoscope off and hands it to the closest cyborg doctor. Allison quickly turns to Felicia then.

ALLISON  
What happened to him?

BURNETT  
Nothing is too dangerous. My recipe  
of this new medicine is working well.

ALLISON  
But why he?

BURNETT  
He's new for this medicine. He'll be better.  
I just reduce quantity of the medicine. We're  
now learning more about his other intercurrent.

ALLISON  
So I have to watch him feel so much pain like that  
again and again. Do you have anyway to decrease it?

BURNETT  
No. I said just today. His headache will happen  
at anytime but you can give him the painkiller.

ALLISON  
His body will heal itself and become stronger.  
After this, he won't have headaches lot.

Allison smiles and relaxes a bit about him.

ALLISON (cont'd)  
Yeah. I remember the words.

BURNETT  
You're very lucky. If we didn't just win enemy  
last night, we would manage this more difficulty.  
They didn't trust machines. Not like today.

Felicia turns and signals to the two cyborg doctors.

BURNETT  
(to Allison, re: E. Boykins)  
He'll be better. I swear. Bye.

ALLISON  
Thank you, doctor.

BURNETT  
You are welcome.

The trio exit the room, leaving Allison and E. Boykins.

Allison scoots a chair nearby toward her and sits on it. Her hands hold his left hand and her eyes look at his closed eyes.

ALLISON  
When will you be better, Stefan? I can't watch  
you feel too much pain like that lot.

She tears again.

ALLISON  
I want you back. A psychic or a common human,  
whichever. I don't want you to be like this.

She wipes her tears and gently puts his hand down.

ALLISON  
Get some rest. I'll go back soon.

E. Boykins reacts and opens his eyes. As she walks away:

E. BOYKINS  
(weakly)  
Where are you going, sweetie?

Allison turns back.

ALLISON  
Just find some food for both of us.

E. BOYKINS  
So please go. I'm so hungry. Haven't had  
breakfast yet. But please come back fast.

Allison winks. She is so sexy when she does so.

ALLISON (cont'd)  
I will. Full-on.

Allison leaves him alone. E. Boykins smiles after her. His eyes look at her sexy shape. He needs her so much. Okay. Let's see what we haven't seen. E. Boykins tests his breath. His expression shows that it's good enough. He smiles and lies back onto his pillow. His eyes close but he still keeps his smile. This is enough for him.

**END OF ACT 1**

* * *

**ACT 2**

**(Fly up like Superman)**

INT. PASSAGEWAY – DAY

T-Tuck and T-Walsh lead Jupiter into the passageway.

T-TUCK  
This is our new work. Mr. Godon.

JUPITER  
Are you sure this will work?

T-TUCK  
Definitely, it works.

JUPITER  
How can you tell?

T-WALSH  
Because we ever use it to publish our medicine  
to all humans when they get the influenza virus  
in 2040. Everyone can accept the anti-virus and  
immunity. We're so proud to present you it.

JUPITER  
Faster.

They all walk faster.

They walk, turn and turn and walk to the outside of a big secured room where two T-ZM5 are guarding.

T-ZM5 #1  
Hey! Guys. You're unauthorized.

Jupiter draws his new sword which is from Lucy Ann.

JUPITER  
I insist.

Those T-ZM5 stare hard at him and quickly move together with covering their endos with mimetic poly alloy skin.

Jupiter slices the throat of the one moving quicker with true grace, thrusting at the second as it's pulling out its gun and pinning its hand. Jupiter pulls out the sword and the T-ZM5 falls as quietly as the first. Their plasma reactors were completely destroyed if you noticed the fast fight.

JUPITER  
(re: the sword)  
Kalibaium or also known as Adamantium. The indestructible  
metal found by Juan Lopez. Nothing can destroy it. Nothing.

Jupiter keeps his sword. And goes to the door.

JUPITER  
(re: the door)  
Good security. Mr. Tuck.

T-Tuck walks towards the door.

T-TUCK (cont'd)  
Yes, sir.

JUPITER  
Destroy.

T-TUCK  
As your wish, master.

T-Tuck first slams the door hard.

EXT. STREET – AFTERNOON

Stefan Jr. and Maggie Moon are running from a lot of hypnotized people who run, fire their guns after them.

PEOPLE  
Come back. Get metal parasites.

People shout but they don't stop.

STEFAN JR.  
They are all hypnotized. John Henry, Emma,  
Catherine Weaver, all those strong robots  
are dead. Only us can stop this madness.

MAGGIE MOON  
Why don't you start now?

STEFAN JR.  
I don't wanna hurt those people. Besides,  
that liquid metal can access the equipment  
right now. They can call rain and mix the  
mini parasites into those drops of water.

MAGGIE MOON  
Like when Zeira publish the medicine?

STEFAN JR.  
We have to go as fast as we can. I'm sorry  
for taking risk into your life. So sorry.

MAGGIE MOON  
You don't have to say.

STEFAN JR.  
We need car.

They all stop on the main street, pause as people are getting closer. The gun fires stop but they don't have many ways to run.

MAGGIE MOON  
Why do you stop now?

STEFAN JR.  
I'm thinking.

MAGGIE MOON  
About what?

STEFAN JR.  
We don't have to run anymore.  
I understand how to do so.

MAGGIE MOON  
Do what?

Stefan Jr. carries her up on his strong arms. She stares at him.

STEFAN JR.  
We have to fly. Hold me firmly.

Maggie Moon does as asked. Stefan Jr. looks skyward and closes his eyes.

People are getting so close. 20 meters now.

Maggie Moon closes her eyes with fear.

MAGGIE MOON  
Oh! My god.

Stefan Jr. tries hard but as the same time, it's almost too late. HE JUMPS AND FLIES UP INTO THE AIR as people reach them. He opens his eyes and flies to the north as well as Superman.

Maggie Moon opens her eyes, sees it. She is over the city view of this modern high tech Los Angeles. She looks surprised.

MAGGIE MOON  
Oh! My god.

STEFAN JR.  
No God in my attitude. I think he's one of  
us. One of psychic kind of humans like us.

MAGGIE MOON  
How can you do all this?

STEFAN JR.  
Training for two years.

MAGGIE MOON  
Since we got master's degrees?

STEFAN JR.  
Yeah. From that time on.

Stefan Jr. is flying over Los Angeles. He passes everything so easily. He hovers and goes through cloud, out of sight.

He is heading toward Palmdale.

INT. INFIRMARY – MORNING

The past again; START C.U. ON E. BOYKINS as Allison spoon-feeds him a small piece of boiled fish. He chews it as his eyes still look at her.

We PULL OUT as Allison spoon-feeds him the last bite. The fish on the two plates on the table now becomes just fish bone and head parts of its. Allison picks a table napkin up and gently wipes around his lips. Allison strokes his head like he ever did to her when he had taken care of her.

ALLISON  
You better?

E. BOYKINS  
I'm full.

ALLISON  
Good.

E. Boykins smiles happily. Allison looks at him, notices his look. It's all happy.

ALLISON  
Should I stay with you all the day?

E. BOYKINS  
Allison. Please give me power.

Allison knows what that means, she carefully leans, gives him a kiss and tries to keep it long for him. It's a few seconds of this short moment but it means very long and happy for him. Allison rolls to her back and gently blankets him.

ALLISON (cont'd)  
Okay. Stefan. I'll be with you.  
I think now you should sleep.

E. BOYKINS  
I'm sorry about it. We could be closer than this  
at this moment, but I really can't because of this.  
I'm sorry. I know you have been looking forward to  
do it with me. I just disappointed you.

ALLISON  
I don't want sexual intercourse. I just want  
to take care of you. Not like that. I'm not.

E. Boykins sighs.

E. BOYKINS  
I think you need to lie next to me.  
I think you need to get some sleep.

ALLISON  
How can I sleep? I think I want bedtime story.

E. BOYKINS  
I know you take it here.

E. Boykins reaches his right hand, "The Wonderful Wizard of Oz" by "L. Frank Baum" flies onto his hand.

E. BOYKINS  
What else?

Allison smirks.

ALLISON  
Nothing more.

Allison lies on the edge of the bed beside him as he opens the book to the page he thinks he should read for her, quickly glances at the page and looks at her.

She turns to face his look and gently cuddles him. His mind brings up the blanket to cover them.

E. BOYKINS  
Let's start.

ALLISON  
Yeah. Let's start.

E. BOYKINS  
Continue from the last I read for Sam.

E. BOYKINS' POV.: It's the 21st chapter of this story now.

E. BOYKINS (O.S.)  
(reading)  
After climbing down from the china wall the travelers  
found themselves in a disagreeable country, full of  
bogs and marshes and covered with tall, rank grass. It  
was difficult to walk without falling into muddy holes,  
for the grass was so thick that it hid them from sight.

E. Boykins turns and looks at her. She stares at him with both love and happiness. He smiles and looks back at the book again.

E. BOYKINS  
(reading)  
However, by carefully picking their way, they got  
safely along until they reached solid ground. But  
here the country seemed wilder than ever,...

TIGHT ON BOOK: Look at text as E. Boykins continues his reading.

E. BOYKINS (O.S.) (cont'd)  
...and after a long and tiresome walk through the  
underbrush they entered another forest, where the  
trees were bigger and older than any they had  
ever seen.

INT. CONNOR TENT – MORNING

We flash cut into a picnic tent where JOHN CONNOR and CAMERON CONNOR are lying in with satisfied looks on their faces. John is also reading "The Wonderful Wizard of Oz" by "L. Frank Baum".

JOHN (cont'd)  
(reading)  
"This forest is perfectly delightful," declared the  
Lion, looking around him with joy. "Never have I  
seen a more beautiful place." "It seems gloomy,"  
said the Scarecrow.

CAMERON  
I remember that when the came, they started again.  
Before they had gone far they heard a low rumble, as  
of the growling of many wild animals.

John closes the book.

JOHN  
You completely recovered?

CAMERON  
Not yet but I can say that some lost memories  
can be recovered soon. Maybe sighs, sounds even  
smells can take them back.

John puts down the book at his side.

JOHN  
I think I like The Wonderful Wizard of Oz very much.

CAMERON  
Your previous future self used to talk about it  
with me when he had shell shocked. It used to  
help him a lot and I always helped him with it.

JOHN  
Did you ever have sex with him?

Cameron looks at him with sincerity.

CAMERON  
I told you. Never.

JOHN  
I'm sorry but I just felt jealous.

CAMERON  
Please kill your jealousy like you killed those  
machines in the war, John. I don't love him.  
I love you. You aren't like him. You are sharper,  
more handsome, younger...Oh! A lot of reasons  
which can be credulous.

John gets it. He slowly moves closer her.

JOHN  
Okay, I won't.

CAMERON  
You know what? When I was with you in the hotel,  
I really wanted to make you forget about your  
mom once a few seconds before I changed my mind.

JOHN  
Why do you tell me this?

CAMERON  
I don't want you to understand that I'm the  
best girl to you. Because of your love, you  
died in previous future. I was too selfish.

JOHN  
You were made to be human, Cameron. All humans  
used to be selfish or even they are selfish.  
But you know that everyone can be changed.  
Nothing is the best way to reprogram metals  
like teaching them to learn value of life.

Cameron sits up. John does the same.

JOHN (cont'd)  
Where are you going? We're on picnic.

CAMERON  
Sarah Connor.

JOHN  
Don't worry about her. Let her be with Reese.  
And let's lie here a while. They'll be alright.

Cameron turns and smiles.

CAMERON  
Okay, John.

Cameron lies down. John looks at her face, gently touches her face. John had never thought about this when she was with him as a machine. Now she is a human and she is so perfect. Cameron looks prettier than Allison, he thinks so. His fingers and every touches onto her skin sending by him aren't useless.

JOHN  
You're so beautiful. Not like Allison.  
You have different personalities. You  
are real for me, you will be forever.

CAMERON  
You said you have something to give me.

JOHN  
Yes. I do.

John rakes around. And he finds it in his bag nearby. He picks up a necklace. It looks like the locket Cameron ever gave John. It means a lot to him and her.

Cameron's expression now is surprise.

CAMERON  
What is this for?

JOHN  
You don't like?

CAMERON  
No. It has many meanings. This is newer.

JOHN  
You made one for me but I made this for you.  
Please take it and keep it with you all time.

CAMERON  
Okay. I like it.

JOHN  
I intended to give you it on your birthday  
but I hadn't finished it yet that time.

As John is gonna continue his words, Cameron puts her finger on his lips.

CAMERON  
Shhh! Nothing more you have to say. It's just  
an object. But I will keep everything you gave  
me as well if I can. I understand why hand made  
things have a lot of meanings even it's so normal.

Cameron grabs his hands, controls them to put it on her while they are locking their eyes, full with love.

CAMERON  
How am I?

John is breathing hard.

JOHN'S POV.: She is smiling there. Her brown eyes, her brown hair, they all make her so beautiful. The necklace isn't so important to her beauty.

Cameron starts to breathe hard, as well as John.

JOHN  
(with a smile)  
Beautiful.

CAMERON  
Do you want to release any endorphins and  
other useful hormones? Maybe we can start.

JOHN  
You asked me to?

CAMERON  
Yes. Thing like that.

She touches his face as he's getting on top of her. Heat radiates off her and the scent of vanilla increases, slowly being accents with a spicier scent he has also become familiar with. His dick throbs, now fully erect and straining against his boxers and cargo pants and pressing against the plains of her belly.

JOHN  
You want it yourself.

John strips off his t-shirt. His dick throbs and aches in the confines of his shorts and pants. They both suck in a heavy breath. He spreads her knees.

JOHN  
Okay, Cam. I have a new game. Who cries first,  
next round on top. Okay. At first, I'll be on  
top of you. Will it be fun for you?

CAMERON  
Seems dull as dish-water. But what if we both  
won't surrender to each other? What if we both  
don't let each other win all rounds?

JOHN  
We'll have sex until you or me surrender.

Cameron nods as her hands slowly slide through his torso downward to his pants. John's hands are unbuttoning Cameron.

CAMERON  
I accept.

They both sit up. Her hands quickly and deftly unbuckle his belt, undo his pants and pull down his zipper. Without, the containment of his trousers, his dick all but springs forward, straining against the less restrictive cotton of his boxers. She deftly pulls back the waistband of his boxers and then pulls both it and his trousers down to his knees. John quickly kicks them off.

CAMERON  
Your manhood is ready for this game.

Cameron kisses him together with strips off her shirt. John can feel her sweet tongue playing with his beneath the kiss as his hands quickly put off her bras then undo her jeans. She breaks the kiss and puts off her jeans.

CAMERON  
Are you ready, John?

JOHN  
I've been ready since got on top of you.

He cups her cheeks and pulls her lips back to his. Her breasts flatten against his chest, soft, warm firm pillows that surround the hard, hot embers of her nipples.

His one hand slides through her hair as other goes down and gently pulls her undies to her knees. Exactly, she kicks it off. She rises up and reaching down, grasps the base of his cock to steady it and lowers him to her, rocking her hips up, sliding through her silken folds until he is seated at her entrance.

JOHN  
I think the game won't work.

CAMERON  
As your wish, my love.

JOHN  
We just try. If you are tired, I'll stop. Okay?

CAMERON  
Yes. I accept.

They separate slightly and her eyes widen before fluttering close and her breath hitching as he starts slide in and out of her.

He draws her legs forward and up to drape them over his shoulder. He leans forward again, he rests his weight on her, bending her knees toward her chest, his face directly over hers. Her eyes are wide, but widen even a bit further as he drives down into her at a new angle. He captures and sucks at her full lower lip before tilting his head to kiss her deeply, hungrily. Their lips slide sensuously together as their tongues fence and then tangle. Her eyes finally flutter close, hiding her unwavering stare. Their bodies meet with a wet slap again and again, and when his lips move from hers to the column of her neck, they let out their soft groans, moans, sighs and gasps.

His eyes are closed now and nothing else matters. The sight, smell and feel of her are the entirety of his world and he luxuriates in it. One moment he is in control his strokes steady and even and then his hips are going into overdrive as he jacks hammer into her. He is grunting, his lips no longer on her skin as he grits his teeth and clenches his jaw. Her cries also grows louder. Her strong fingers bite into his ass, flexing to urge him on. Sweat trickles down their backs in tickling rivulets, their arms, thighs and calves tremble with strain as the energy in their loins roil and compress in on themselves. They pant and groan and/or even cry.

His balls ache and throb with the build and pent up tension, skipping back and forth over the line between pleasure and pain. He manages to deliver one more powerful thrust before it all becomes too much and his hips hump and grind against her as his spine becomes a taut bow and he erupts inside her with a growl that graduates into a rumbling roar. Her channels squeeze and ripple around him, milking his seed from him as he expands against the tight grip to expel his seed into her.

Cameron's back arches off the mattress, mashing her even tighter against him and he can feel a fresh flood of liquid heat surround him. We or even John can hear...

CAMERON  
John.

...says his name in a strained whimper before she lets out a stifled, stuttered cry. Electric ecstasy courses through him, making his muscles twitch as they tense and relax in quick successive surges. Energy zips and snakes through his system, making his skin tingle, every part of him alive and powerful as he empties himself into her.

His climax runs its course and one moment he is all-powerful, the king of the universe and then he can hardly stand. Her legs drop from his shoulders, spread to either side of him as he collapses limply on top of her. It takes him a moment to find the coherent ability to draw breath and he finds joy in his relaxed satiation at the simple pleasure of cool air filling his lungs.

Her nipples press into his chest, surrounded by the softer pillows of her breasts that are flattened by his weight. Her scent, mixes with sex and sweat fills his nostrils as he breathes it off her skin. He catches his breath and with a groan rolls off her, pulling his semi-erect cock out of her at the same time. He lies next to her, his shoulder press to hers with barely enough tent for them both on the single mattress.

CAMERON/JOHN  
You win it.

She smiles to her but then she rumbles with hunger. Cameron looks at her stomach. John sits up and gives her a funny smile.

JOHN  
I surrender you. You win.

CAMERON  
But in fact, I lose you.

JOHN  
The result of all has tie. No one wins and loses.  
So I surrender you. I think we should find something  
yummy for your tummy at first.

CAMERON  
Thank you.

John wears his boxers and his pants. Then he hands her her undies, her bras and her jeans.

JOHN  
Get dressed. I'll find out good food.

She takes them, smiles and blushes.

CAMERON  
Thank you.

He gets out with his t-shirt.

**END OF ACT 2**

* * *

**ACT 3**

**(Sarah Reese)**

INT. MOTEL ROOM – MORNING

It's the spartan room. Sarah is asleep on the bed, naked. Only one thing we can assume is Sarah and Kyle just lied(might also have sex)here together last night. Sarah wakes up after the warm of sun light has shined on her naked back for many minutes. She looks around, finding Kyle Reese.

SARAH  
Reese, where are you?

Sarah can't find him. He's gone...or not. She glances at the lamp. There is a sheet of paper there. She smiles better. He just has been going and will come back.

SARAH (cont'd)  
What you left, Reese?

Sarah takes the note up and looks at it.

SARAH'S POV.: Oh! Sarah, my young princess, I will be back late but please don't be worried about me. Last night was fun and I'm happy. I cooked something for you, hoped that you would like it. It's all I can do. I'm not a good chef. Many people even Derek ever told me. I hoped that it will full your tummy. I love you. I always have. -MAJOR KYLE REESE.

Sarah smiles happily.

SARAH  
Thank you, Kyle.

Sarah thinks about today now. She is thinking and pausing. What about John? She thinks about John and Cameron. Then she forgets about it, she has tried.

SARAH  
(to herself)  
No. No. Sarah. John is grown. He has wife.  
He may want time with his wife. Cameron is  
now a human. She mayn't kill him.

Sarah grabs a huge white towel off the counter and wraps it under her arms.

SARAH  
(to herself)  
I think Kyle may like me much when I'm clean.

Sarah sighs. She walks into the bathroom.

INT. BATHROOM – MORNING

Her breathing starts to accelerate again and her hands trembled—so much for the calming effects of the shower. She starts to feel a little dizzy, apparently a full-scale panic attack on the way. She sits down on the cool tile floor in her big towel and puts her head between her knees. She prays he won't decide to come look for her before she can pull herself together. Sarah stays with water that coming down from shower head for a little while before she can hear...

THE SOUND OF DOOR OPENING...

Sarah quickly stands and turns to find a pistol near the soap. She takes a breath as she slowly flicks off the safety of the gun she holding.

And as that guy opens the door, she quickly aims her gun. And that guy quickly moves, grabs her gun. He's Kyle Reese. Sarah spins fast and punches but he can block her way. Sarah tries to take a knee strike on his stomach but he can push her knee away.

Sarah punches again with her left fist but Kyle grabs it. She tries the right and he grabs it again.

SARAH  
(playfully)  
You're good at self-defense.

KYLE  
Thank to Stefan and Derek.

SARAH  
They taught you?

Kyle lets her go.

KYLE  
Yes. You know what Muay Thai is?

SARAH  
Yeah. A combat martial art from Thailand. Ever trained  
once. But I'm not good at it. I lost a Thai. Basically,  
it uses stand-up striking along with various clinching  
techniques. So strong martial art.

KYLE  
According to Thai history, some soldiers in the  
past when they lost their weapons such as arrows  
swords, blades or even their lances, they usually  
fought with their Muay Thai skills.

Kyle looks around her. Thinks about something.

KYLE  
Let me assume, your skill is very good.

SARAH  
I was training to fight against Kaliba goons.

KYLE  
Kaliba? You mean Grays.

Sarah looks at herself. Her body is still wet.

SARAH  
I think you should stay out there. I'll  
get out soon. I need sometime with shower.

KYLE  
What if I need it with me?

SARAH  
Hmmm! Seems better.

They both smile to each other. Then they both re-enter the bathroom. And Kyle closes the door.

INT. GRIFFITH OBSERVATORY RUINS - MORNING

The observatory is in ruins. The area has been reclaimed by nature and is thick with plants. A relatively clear area inside finds PRESIDENT SAVANNAH WYMAN, PATRICK WYMAN, MATT MURCH, SEMINA MURCH, JESSE FLORES with KITTY FLORES and some T-ZM2 endos.

JESSE  
I'd have to agree you. Ever since John Henry and  
our President Wyman were put in charge, it's like  
the feds went on a vacation.

SAVANNAH  
Anybody think different?

There's a lot of head-shaking.

SAVANNAH (cont'd)  
That's why I wanted us to get together. We need to  
start organizing. We've been under the ZEITECH laws  
and agreements for awhile. Anybody think these laws  
and agreements have flaws?

There's a lot of head-shaking again.

PATRICK  
Savannah.

Savannah turns.

SAVANNAH  
What?

PATRICK  
How can we organize? It makes sense. We need  
to organize. Refugees keep coming.

MURCH  
If I may? We've been asked to intervene  
more often as living space and food  
sources are in dispute.

SAVANNAH  
And that's why I asked you here. This isn't just  
a human problem. It's affecting the machines as  
well. And it isn't just about rank or succession  
or even those laws and agreements. We need to  
start making or upgrading our laws to be better.

SEMINA  
So, who will be a lawyer?

SAVANNAH  
You and your machines can be. You know many laws  
from 2000s. We may need more than knowledge. Our  
laws now have to be upgraded by only one who know  
things or even flaws from the laws in the past.

Semina shrugs. Murch steps forward.

MURCH  
What about this place? Why are we here?  
We aren't here just for only this?

Savannah gives Murch a small smile.

SAVANNAH  
Yes, uncle Murch. This place isn't about what  
I just talked to everybody of you. We're here  
to repair and use every tool for observation.  
John Henry and Lucy Ann called me last night.  
They need this place for military observation.  
Like people ever discussed, it's all truth.  
We have our enemies out there.

JESSE  
Wait. How can that be?

SAVANNAH  
It'd been too long that Skynet had controlled  
our planet. It's a machine. I can tell that a  
machine is more careful than us. John Henry and  
Lucy Ann have it as plain as a pikestaff.

MURCH  
What? You are telling us that Skynet sent out  
a spaceship or more to other planets out there?

Savannah nods.

SAVANNAH  
During the war against machines, Skynet might  
do everything in the area where wasn't ours.  
It might send its men abroad spaceship up to  
Mars or even farther away.

SEMINA  
So Skynet may succeed its job easily if we  
don't notice about it. The unknown enemies  
may kill our machines and humans with ease.

SAVANNAH  
Yes. And that is now a problem to every nation.  
Even to machines around here. We have to observe  
everything in the sky or even on our lands.

PATRICK  
If they attack, we can know and welcome them  
with all our heavy weapons and strong men.

SAVANNAH  
Yeah. That's right.

Jesse steps forward.

JESSE  
Why do we wanna attack them first?

SAVANNAH  
We're trying. We have a Thai scientist who we  
don't trust at all working for us. John Henry,  
Lucy Ann and even Stefan confirmed that this  
guy can be trusted. I think we should change  
our minds about him. What do you think?

Everyone is thinking about it now.

INT. ALLISON'S HOUSE - HALL (2080) – DAY

The door is blasted open. Three cyborgs enter the house. They're T-MICHELLE DIXON, T-CHARLEY DIXON and SAMUEL BARTON. They scan around the whole hall. No living sign.

T-CHARLEY  
They might have already gone.

T-MICHELLE  
They aren't so clever like you ever thought.

SAMUEL  
Nevlin Glau might help them.

T-Charley steps forward.

T-CHARLEY  
Separate around the house. Find their traces.  
We can still find them around here. Our lord  
can be sure if all those psychics die. Go.

T-MICHELLE/SAMUEL  
Yes, sir.

T-Michelle and Samuel walk into kitchen. T-Charley moves to the second floor. THE T-600 COMMANDER (F04) enters with more T-888 endos. They all separate and scan through room.

T-CHARLEY (O.S.)  
Scan all rooms. They might be around here.

INT. ALLISON'S BEDROOM – DAY

T-Charley enters the bedroom. And sees pictures of this family. CONNOR HEILS, CONNOR GIRLS and many sons, grandchildren of John and Cameron in some those pictures. Some have Pichitchai family including Sittipong, Jirachaya, KITTY FLORES/PICHITCHAI(F03E05), Stefan Jr. and two other men. And more four pictures have Kyle, Sarah, a girl, Marcus Young and Nevlin Glau. And some pictures, Stefan Jr. usually took with Nevlin. Their relation might be like a close uncle and nephew.

T-CHARLEY  
Warm family. But we will destroy the whole.

T-600 (O.S.)  
They're all gone, sir.

T-Charley turns and finds the T-600 at the doorway.

T-600  
We don't see anything, sir. They're sharp.

T-CHARLEY  
We should hurry up. They can't go far. The grand  
Connors have their cancers. They can't walk for  
a lot of meters. They're gonna die soon.

T-600  
I'll send out our people.

T-CHARLEY  
I think we should hurry up. This can be the trap.

COMPUTER VOICE  
Yes, this is a trap. You all rats.

This voice is spoken out and surrounds the room. It is something else. Not John Henry. Not Emma(Lucy Ann). Not Skynet.

The computer voice laughs.

T-CHARLEY  
(to T-600)  
Tell them to go.

T-600  
Yes, sir.

But when everyone steps, they all stop like something is holding them with floor.

COMPUTER VOICE  
You guys can't move now. Bye.

Then the wall becomes door which sliding down from ceiling through floor, revealing some kind of things looking like John Henry's new endoskeleton's cells.

All timers start counting.

EXT. ALLISON'S HOUSE – DAY

From the point away from the house, we can see the house EXPLODE and the semicircular explosion expands territory of about 1 km diameter. The light slowly swells, goes wide and covers all armies around here. Then the explosion expands its territory to be bigger than every nuclear explosion.

HIGH ANGLE, revealing the area of Palmdale. The explosion expands at the point it can't go wider. Then it explodes again with the blue barrier light which destroys everything including the area of the house.

The light of the explosion withdraws and reveals the result of the large explosion, it's like the large meteoritic hole. No one survives and nothing is around here. No body count.

INT. GRIFFITH OBSERVATORY – DAY

In the repaired room of Griffith Observatory, a display shows and warns that now the whole area in 1 km diameter in NE of Palmdale just disappeared. Everything becomes a big hole like a large meteoritic hole. Two T-ZM2 endos have stationed here, turn to face their new-coming boss who is T-TUCK.

T-TUCK  
What the hell happened?

T-ZM2 expands picture on display.

T-ZM2 #1  
This is too strange, Mr. Tuck. Our satellites  
said that everything in NE of Palmdale was just  
destroyed by something like explosion.

T-ZM2 #2  
Intensity of the explosion is unknown in database.

T-TUCK  
Send out our force. We have to know.

T-ZM 2 #1/#2  
Yes, sir.

Those T-ZM 2 turn to microphones.

INT. MOTEL ROOM – MORNING

We're back to 2030 again; SOUNDS OF WATER FLOWING FROM THE SHOWER AND GIGGLES OF THE MAN AND THE WOMAN FROM OUT THERE.

We turn and slowly zoom in the door which access to the bathroom.

CLOSE ON THAT DOOR and we slowly CUT TO:

INT. BATHROOM – MORNING

Naked Kyle Reese and naked Sarah Connor take a shower together. He pulls her wet body against his own one and hugs her under the shower. He leans and kisses her as her smooth hands slide up his back, the water starting to soak, darken and smooth her black hair as well as make her battle-harden lush feminine curves glisten wetly.

They break their kiss, look each other in the eyes and giggle.

KYLE  
I love you, Sarah.

SARAH  
I love you too.

She rakes her hand through her now soaked hair clearing stray locks out of her face.

KYLE  
Sarah, I have do something. It's right for you.

Kyle steps off. Sarah just looks after him. She thinks about the real relation between her and this Kyle. This isn't her Kyle, but why she is feeling with him as if she really was his wife. Her feelings are unclear. Not at all. She inhales and exhales deeply and thinks about how she loves him and why. Is this what she wants? Is this real love? He's just 28 but she's 38 now. Maybe the age isn't important, maybe it's important.

Sarah walks around under the shower head, letting water help cooling her temperature down as she thinks.

The things haven't cleared until Kyle re-enters the shower room with two small red boxes. Sarah looks very surprised when she sees them.

SARAH  
What the hell are these, Reese?

Kyle opens one box and picks out a female-size wedding ring

KYLE  
I know it's not a long time we associate.  
Not a long time we meet, we talk, we play,  
we do things together.

Kyle slowly and gently grabs her hand, rises it up. Sarah looks in his eyes. She isn't too old, still looks young. Maybe she looks like she's younger than him.

KYLE (cont'd)  
But I can say it now. My princess. You aren't old  
for me. You're still a young woman. You a good  
fighter. You look like angel. Don't think you're  
too old or even ugly. You are so beautiful for me.

SARAH  
Kyle.

KYLE  
Sarah, please. I don't want to love anybody else.  
I saw many people. No one is like you. No one.  
John Connor gave me your picture once. I hadn't  
known the reason until he said it. And I still  
didn't know all main ideas of the reason. Not  
until you came across time. Not until I met you.

Kyle slowly kneels one of his knees down. Looks up in her eyes.

KYLE  
Marry me. Please.

Sarah looks at him, locks her eyes with his. She knows that it's not right. She feels like she is playing with boy's feelings but it's like a magic when his hand grabs hers. And the ring is at ready above her finger now.

Sarah determines and smiles.

SARAH  
Okay, Kyle. I'll get married with you.

Kyle smiles so happily, he stands and...

KYLE  
Ma'am, do you take me, Major Kyle Reese, the veteran  
of the war against machines to be your husband?

Sarah starts blushing. She smiles from ear to ear then NODs.

SARAH  
I do.

Kyle gently puts the ring at her finger and hands another ring to Sarah who takes it. She then takes Kyle's left hand with her right hand, puts the ring just above the finger and looks in his eyes. She giggles for a moment before.

SARAH  
Tech-com Major Kyle Reese, do you take me, a  
fugitive name Sarah Connor, to be your wife?

He flashes a smile as he flushes.

KYLE  
I do.

And Sarah gently puts the ring at the finger, they both look each other in the eyes as they both still flush. The water which fall on their body can't cool down the flame of their love.

KYLE  
Now we are husband and wife. I can kiss my wife.

Kyle takes her hand in cross finger, kisses on it, then looks up to face her, gets closer and kisses her at the mouth. She gives him control of the kiss as their lips slide and suck at each other, the tip of her tongue fencing with his until she grants it to her mouth where they wrestle in a sensuous massage. His arms wrap tightly around her back. One of her hands still wraps around his head, touching his short hair, as another hand slides around his back. They break the kiss.

SARAH  
I love you. I need you.

Sarah slides one of her hands down through his chest, his abdomen, and heads to his manhood. Then they kiss each other under the shower water as Sarah wrapping her hand around his length she begins to leisurely jerk him off. Kyle gasps, and Sarah uses the opportunity to deepen their kiss, her tongue sliding its way into his mouth. Kyle's hands come up to grasp the back of her head, his fingers tangling in her hair.

Sarah ends their kiss and rests her forehead against Kyle's, her hand continuing to slowly slide up and down his manhood.

KYLE  
I love you too. I need you too.

With that, he kisses her, his hands sliding down her back to pull her body against his.

KYLE  
Was it really good for a kiss?

SARAH  
(murmuring)  
Yes. Yes. It was good.

They kiss each other again. Water from the shower head also makes her feel like if she were Mrs. Bella Cullen and she were kissing in the sea with Edword Cullen.

DISSOLVE TO:

SARAH falls onto the bed and giggles as KYLE is lying onto top of her. As Sarah and Kyle continue their kissing and explorations of each other's bodies with their hands, she begins to tug at his waistband.

Kyle takes a moment to breathe in her beautiful form. A vision of Aphrodite can't be lovelier. He draws her closer to him and places kisses on her chest and abdomen, while squeezing her buttocks in his hands.

Sarah gasps as Kyle's mouth and hands find that special place, that is her clitoris and then find her entrance. She holds tightly onto his shoulders as waves of pleasure shoot through her. Kyle is doing her favor. But at this moment, she can't even control the destiny. Skynet is no more. Only good machines around here and Kyle is still her hero.

SARAH  
Now. Kyle. Do me favor, please.

Sarah says that as her hands grab his penis and guides it right at her entrance. He enters her slowly, soft moans escaping her mouth. He stops when he comes to an obstruction.

SARAH  
(murmuring)  
Don't stop.

As gently as he can, Kyle pushes through. Sarah buries her face against his chest to muffle her cry.

He moves his hand back up to her side and they just look at each other for a long moment. Then Kyle pushes down and forward, sheathing himself inside her.

They each gasps as Kyle fills her. On instinct Kyle pulls part way out again, only to thrust back into her. As he moves in her he marvels at the feeling of her sex around his cock, the way she clutches at him, bathing his penis in liquid heat.

They both gasp as he penetrates her. He stops staying inside of her though looking at her with weary eyes. She smiles at him showing it's leaned his head into the crook of her neck, his breathing becomes heavy as he slides himself in and out of her.

SARAH  
(screaming)  
Oh, Stefan. Fuck me harder and faster.

He does as asked.

KYLE  
(whispering into her neck and pushing  
himself deeper inside of Allison)  
Oh Alise!

She flinches biting her lip to keep from gasping again. A movement that isn't missed by Kyle, but he doesn't stop, he grabs her arms with very little pressure.

SARAH  
(moaning)  
Harder!

His hands grip her harder as he fucks her harder and faster. His face moves up to hers, his tongue caressing her lips and the inside of her mouth. She closes her eyes, tightly grabbing and scratching at his back.

Then it happens, Sarah begins to climax with a deep and long shudder. He tries to withdraw before he climaxes but she holds onto Kyle, keeping him in place by locking her legs behind his back and her arms around his neck. Sarah cries out again as Kyle bucks against her. With a loud groan, Kyle explodes inside of her. After which, he collapses on top of her, spent and exhausted. She feels his sex slowly soften within the embrace of her womanhood.

Kyle lies on top of Sarah. His strong force and her strong moment are gone. Only their love can increase their power but they chose their choice.

Kyle wallows off her but still lies beside her. She turns her face follow him. They speak in hushed tones, but not whispers.

SARAH  
Is there something wrong?

KYLE  
No. There's nothing wrong. It was perfect.  
It was better than I imagined. I love you,  
Sarah Connor. My princess. My...

Sarah places a finger over his lips.

SARAH  
No more Sarah Connor, Kyle. Sarah Reese.

KYLE  
Yes, Sarah Reese. Princess Reese.

They smile to each other. Not knowing what he can say, Kyle just pulls her closer to himself placing a kiss on her lips. They lie naked on the motel bed, holding each other.

**END OF ACT 3**

* * *

**ACT 4**

**(Dystopia begins)**

EXT. TOP OF ZEIRA CENTER – DAY

Future of 2080 again; There are four people around here. They're Jupiter Godon, T-Tuck, T-Walsh, T-Kaplan (now T-Kaplan has his new endo lower part, only his upper part has skin covering), T-WANG PICHAO, DEBBIE, T-BOYD SHERMAN and other two scientists. And there is an object which looks like the Weathernaught 57X from The Sims 2 game, in the center of roof. It's a machine to send out and separate medical things with cloud covering city.

JUPITER  
Let's start, Mr. Tuck.

T-Tuck gives two scientists a look. They move toward controls and key passwords, configuration. One of them moves and draws a plough handle.

T-WANG  
I'm so proud of this.

JUPITER  
I know what you all are thinking about.  
This isn't magic but this is high tech.  
It's a magic of science. My magic now.

Jupiter moves toward the machine and plugs his right arm into a space of tube which closes and cuts his arm apart.

JUPITER  
And I'm gonna be the king of the kings. Now let's  
start from Los Angeles and next to other city around  
here. And next to other nations. Everything belongs  
to us from now on.

EVERY TOK  
As your wish, sir.

JUPITER  
Do it now.

One of the scientists hits a couple of keys.

HIGH ANGLE ON THE MACHINE: Its antennas are open. The cannon over its head is at ready to fire.

SCIENTIST #1  
Ready in three.

Jupiter steps closer the machine. His finger is on the red button. Every TOK looks skyward.

SCIENTIST #1 (cont'd)  
Two. One.

The scientists look at Jupiter.

SCIENTIST #1  
It's ready, Mr. Godon.

Jupiter looks down and presses on that button.

The capsule which has Jupiter's mass, moves to the spring inside the cannon before the gear transports it into a warhead as the clutch rolls and another gear lights the rear of the rocket. And the cannon outshoots.

Jupiter looks up, after the rocket.

JUPITER  
Let's go, my dream. Thank you, dad Van Meter.

TILT UP, revealing that the rocket goes up to the cloud and explodes, expanding cloud to cover the whole air view of Los Angeles and MPA MINI-PARASITES which fall down to the big city of Los Angeles like snow.

Everybody walks and looks down. Only we can hear now is a lot of LOUD CRIES OF PAIN. People below who weren't hypnotized now are being hypnotized.

JUPITER  
That's what I want. Now everyone will be  
under my command and my laws forever.

The hypnosis snow is raining down.

T-TUCK  
Congratulations!

T-WANG  
Now no one can survive from this one shot.

T-KAPLAN  
Long life, sir. King Jupiter Godon of Mars.

Jupiter smiles implicitly.

JUPITER  
I'm the King now. So send out all my troops.  
Find and kill all psychics and the Connors.  
I need my throne to be safe from avengers.

EVERY TOK  
Yes, sir.

Every TOK and the scientists walk off. T-Wang moves closer Jupiter who turns to face him.

JUPITER  
We lost Captains. You have any?

T-WANG  
Four sir. Captain Photon, Captain Queeg, Captain  
Suwan and Captain Tripoom are advancing ships and  
boats out of cloud area.

JUPITER  
Take me to them. I need them hypnotized.

T-WANG  
Come with me, milord.

JUPITER  
Thank you.

Jupiter and T-Wang walk off.

INT. HTMS PHUTTHALOETLA NAPALAI – BRIDGE – AFTERNOON

This is the bridge of the His Thai Majesty's Ship, knox-class frigate, the HTMS PHUTTHALOETLA NAPALAI. All twenty sailors in here are Thai. They are all hypnotized. They look drugged. Their eyes are emotionless.

T-Wang blows the Thai T-600(F04E08) apart.

CAPTAIN WATTANA TRIPOOM (F04E08) enters but everyone aims the gun at him. He doesn't surrender and moves away. He spins and kills a soldier but when he shows up again, Jupiter appears behind him and pushes him into the bridge.

T-WANG  
Surrender to us, Captain Tripoom.

CAPT. TRIPOOM  
I'm not your slave.

Capt. Tripoom rises. Too late. Jupiter is already on him. The blow is lighting fast and catches Capt. Tripoom with one hand. Slowly, Jupiter rises his finger and touches it on Capt. Tripoom's forehead.

CAPT. TRIPOOM  
Oh! No.

JUPITER  
(cunningly)  
You have a chip.

C.U. JUPITER'S FINGER: It's the blue phosphorescent molecules which blow and enter the skin through pores.

The molecules enter the system and enter the control of Capt. Tripoom's chip. They intervene into the port and reprogram the whole neural network CPU so easily.

C.U. JUPITER'S FACE as he smiles and...

Jupiter lowers his hand and lets Capt. Tripoom go.

JUPITER  
What now?

CAPT. TRIPOOM  
Command me as you wish, milord.

Jupiter smiles friendly and slowly steps back.

JUPITER  
Take my son to Thailand. Hypnotize them all.

CAPT. TRIPOOM  
(coldly)  
Yes, sir.

Jupiter smiles again. An eel-sized piece of Jupiter splits off and scurries to a corner, disguising itself to be as a small box.

JUPITER  
(re: the box)  
That's my child who will look like me.  
Take him to Thailand. At first to the  
hybrid name Preecha Singhmak.

CAPT. TRIPOOM  
Yes, sir.

CLOSE ON CAPTAIN TRIPOOM'S FACE as he smiles coldly.

CAPT. TRIPOOM  
Our Utopia begins, milord.

INT. INFIRMARY - AFTERNOON

We are back to 2030 again. Allison and E. Boykins are lying asleep on a cot. He wakens, turns to her and smiles happily.

E. BOYKINS  
Good to see you sleep.

E. Boykins raises himself on his forearms and runs a hand through her hair, gazing her closed eyes.

E. BOYKINS  
Oh! My noble kind.

E. Boykins gently fondles her hair, feeling it so soft.

E. BOYKINS  
Your hair, it's so pretty.

E. Boykins leans and places a gentle kiss on her forehead.

E. BOYKINS  
You are very beautiful.  
(a beat)  
Thank you, Allison.

E. Boykins grabs her hand up and kisses on it.

E. BOYKINS  
I'll make you lunch.

E. Boykins pulls his wheelchair toward him by his telekinesis.

INT. JOHN HENRY'S RECEPTION ROOM – AFTERNOON

The small reception room looks very like a hotel room but many things make it special. A personal computer on a desk with many devices for connection, and sound recognition, is working on Microsoft Windows 7 Ultimate system and shows programmer's IDE.

John Henry enters the room. A T-ZM2 endo walks toward him.

T-ZM2  
Mr. Henry, you change body?

John Henry nods. John Henry can hear the shower running.

JOHN HENRY  
My wife is in there?

T-ZM2  
(male voice)  
Yes, Mr. Henry.

JOHN HENRY  
Oh! I think I have a mission for you as well.

T-ZM2  
All after your command, sir.

T-ZM2 salutes at John Henry and walks off. John Henry walks toward the bathroom and finds that it's unlocking. John Henry opens it and steps into the steam filled room.

LUCY ANN  
John Henry!

John Henry looks up at her, he can make out the general shape of her body through the plastic shower curtain as she turns this way and that beneath the spray of hot water.

JOHN HENRY (cont'd)  
Yes?

Lucy turns off the shower and pulls the curtain open.

LUCY ANN  
How am I?

John Henry looks at Lucy's naked body. He doesn't feel lust but he can say and comment it.

JOHN HENRY  
It's beautiful in my idea.

Lucy Ann reaches back and gathers her hair in her hands, twisting it together to wring the water out.

LUCY ANN  
Are you sure? And my size okay?

JOHN HENRY  
I think it's beautiful.

LUCY ANN  
Can you hand me two towels?

John Henry hands her the towels. Lucy Ann wraps the longer one over her arm while she uses the smaller one as a makeshift turban to contain her still damp hair. She uses the first towel to dry off her arms.

LUCY ANN  
You still want to learn how it is?

JOHN HENRY  
What how?

Lucy Ann finishes with her arms and moves onto her chest.

LUCY ANN (cont'd)  
How humans feel like when they...

JOHN HENRY  
Oh! I understand what you wanna say.

Lucy Ann dries off her breasts. She moves down to her abdomen.

LUCY ANN  
In fact, we don't have to take a shower.  
But I feel very good after I have done it.

Lucy Ann places her right foot up on the edge of the tub as she begins to dry off that leg.

JOHN HENRY (cont'd)  
Like humans. They sometime don't like to...

She moves to her other leg.

JOHN HENRY (cont'd)  
...clean their bodies with water.

LUCY ANN  
But it's better to be clean.

John Henry shrugs.

JOHN HENRY  
I think so.

Lucy Ann smiles.

LUCY ANN  
John, would you like to dry my back?  
I can do it myself, but it would be more  
efficient if someone else did it.

John Henry steps forward. Lucy Ann hands him her towel as she steps out of the shower and turns away from him. John Henry places his hand on her left arm to steady her as he begins to dry her off, starting with her neck, then moving down to her shoulder blades.

LUCY ANN  
The feeling is very distracting.

JOHN HENRY  
What is that like?

Lucy Ann considers herself.

LUCY ANN  
Uncomfortable. My skin has tightened to conserve heat,  
not that it needs to, my body is merely imitating a  
human reaction to the situation. The hairs on my arms  
are standing up, and all my limbs are covered in goose  
bumps. My nipples have hardened. However,...

...she looks down at the hand he has on her arm.

LUCY ANN  
Your hand is warm.

JOHN HENRY  
I've made it warm like Mr. Murch's.

Her right hand comes up to lightly touch his.

LUCY ANN  
It's interesting. Is this your cybernetic organism  
body? I don't feel your mimetic poly alloy around.

He dries the small of her back.

JOHN HENRY (cont'd)  
Yes, it is.

John Henry moves down to the swell of her buttocks, then kneels down as he gets the top of the back of her legs, the hand on her arm sliding down to her hip.

JOHN HENRY  
You didn't dry your crotch.

LUCY ANN  
No, I was gonna do that after you were done  
with my back. However, you can do it for me.

John Henry hesitates. He has noted that she is sexual attractive, but that is all it is, an observation. They aren't human; they don't feel the instinct to mate. As far as, he is concerned everything about this encounter has been platonic. Still, John Henry can feel that to touch her there, under any circumstances, will be crossing a line.

Lucy Ann apparently has no such concerns. He dries the area where the inside of her left thigh meets her pelvis, then her right. Then he moves the towel to her center and begins to dry the flesh of her vulva. He slows when he hears her make a slight, yet sharp inhale. Beyond that, she's elicited no reactions, and after a moment he moves up to her pubis.

JOHN HENRY  
I can't see what I'm doing anymore.

He withdraws his arm so that she can turn around to face him, allowing him to examine her front.

John Henry stands.

JOHN HENRY  
You gasped. You have automatic sense reaction  
managers around every part of your own body.

LUCY ANN  
T-950 is advanced infiltration and combat model.

JOHN HENRY  
I know that by now. How it feels?

Lucy Ann grins.

LUCY ANN  
When you used the towel to dry off my genitals, the  
felling of it rubbing against the folds of my labia,  
and especially against my clitoris, they were very  
intense. I experimented with masturbation once.

John Henry hands back the towel.

LUCY ANN  
I liked it. I just tried to focus every cognition.

Lucy Ann drops her towel, reaching out to take one of John Henry's hands. She places his hand on her left breast.

LUCY ANN  
Try it. Please squeeze it gently. Just try.

John Henry complies, gently squeezes her breast as he increases the sensitivity of his own senses, especially touch, noticing the feel of her warm, soft flesh in his hand. His thumb slides up over the top of it, cataloging the slight change in the texture of her areola from that of her skin before circling her hardened nipple. Lucy Ann gives him a warm smile.

LUCY ANN  
Good.

Her eyes remain on her breast.

LUCY ANN  
Try pinching my nipple.

John Henry complies, squeezing the pink nub of flesh between his thumb and forefinger.

LUCY ANN  
Not so hard. Yes, like that.

JOHN HENRY  
Are you experiencing any more, involuntary reactions?

LUCY ANN  
Yes. Try rubbing it now.

He begins to roll her nipple around.

LUCY ANN  
Can you describe them?

Lucy Ann's gaze goes from her breast up to John Henry's face. She takes his free hand, guiding it to her crotch. She presses one of his fingers into her slit, lightly pinching the flesh of her folds around it before releasing his hand and allowing him to bring it up to his face. His finger is lightly coated with a clear, sappy fluid; most defiantly not water.

Lucy Ann reaches up, taking his other hand from off of her breast.

LUCY ANN  
I want to continue this, but we should  
do it later when we go home.

John Henry steps back.

JOHN HENRY  
Yes, we will.

He turns and leaves, closing the door behind him as Lucy Ann pulls the smaller towel off of her head while reaching for the blow-dryer.

INT. INFIRMARY – AFTERNOON

E. Boykins is sitting on the edge of the cot, looking at Allison who is still asleep on the cot. A table is at his side and is full with foods and drinks. E. Boykins leans and kisses on her forehead. He doesn't want to wake her yet but she wakens drowsily, sits up and looks at him.

E. BOYKINS  
I'm sorry. I didn't want to wake you.

Allison still looks a bit somnolent but she turns and gives him a small smile. Allison inhales and exhales deeply. Completely.

ALLISON  
I didn't mind you. You touched my hair.

E. BOYKINS  
Yes. What's wrong? Did I just distract you?

ALLISON  
(with a head shake)  
No. It was just gentle. I felt very comfortable.

And this time, his smile shows on his face. Allison turns around, sees foods and drinks. She is surprised.

ALLISON (cont'd)  
Stefan, did you make all these?

E. BOYKINS  
Yes. You like?

Allison looks at him with guilt in her mind.

ALLISON (cont'd)  
Oh! Stefan. I'm defective wife. I'm sorry.

E. Boykins shakes his head, strokes her hair and her cheek.

E. BOYKINS (cont'd)  
No. You're so good. You came here for me.  
You hadn't slept when I had. I didn't want  
to wake you because I don't want you tired.  
(re: the foods)  
All these are for us. Today is my birthday.

ALLISON  
Oh! My love. I think I should be punished.  
I had feet of clay. I slept when you tried  
all these. I am your wife but I...

Quickly, he presses a finger on her lips.

E. BOYKINS  
No. You said enough. My turn.

E. Boykins gently lifts her face to look at his. Their eyes lock. She has real guilt in her mind. E. Boykins shakes his head and gently places a kiss on her lips. He pulls back before she can kiss him back.

E. BOYKINS  
(whispering)  
You'd been punished before it happened. Please forget  
about it. Every human can err. I understand. You were  
so tired and needed time to sleep. I'm not angry. I  
shouldn't. If you want me to be happy today, please  
forget about it and celebrate with me.

ALLISON  
You had lunch yet?

E. BOYKINS  
No. Not yet. I've been waiting for you.

It's her fault but somebody including him can think that it's not. He fondles her face and flashes a peck on her cheek.

E. BOYKINS  
I said. Forget about it. Let's celebrate.

ALLISON  
(with a giggle)  
Yeah. Your birthday. Happy birthday, Stefan.

They both move to the table, getting closer their foods and drinks. He uncovers and pours cocoa into two glasses, one for him and another for Allison.

E. BOYKINS (cont'd)  
I think cocoa is still better than wine. Flavonoids.  
Anti-oxidants. Flavanols. All useful for your heart.

They both grab the glasses.

ALLISON  
You're good man. No one is like you.

There is a proud smile on his face.

E. BOYKINS  
There are still. But less numbers.

They give a toast.

E. BOYKINS/ALLISON  
Cheers.

Then they drink it all and chuckle.

INT. ZEIRA CENTER HALL – MORNING

2080 again; The Zeira hall at that time, is modified to be the chamber of LORD JUPITER GODON OF MARS. Jupiter is sitting on his new high tech throne. Only T-Wang, complete-healing T-Walsh and two T-600s who were commanders. All TOKS are in formation. Just then, at the back of the hall, up the steps from the lower level...

70S PREECHA SINGHMAK strides cockily into the hall with a big black plastic bag. He reaches the front of the room, kneels on one knee before his new king.

JUPITER  
Did you get them?

PREECHA  
Honesty...not at all, my king. Some of them could  
run from me. I had these six heads for you as well.

Preecha puts the plastic bag before him. He unpacks it and reveals six heads of our heroes who ever fought for the past- they are all old and they're SARAH REESE, JOHN CONNOR, KYLE REESE, E. BOYKINS, ALLISON PICHITCHAI and MARCUS YOUNG.

PREECHA (cont'd)  
I killed Cameron Connor but couldn't cut off  
her head because of her Kalibaium endoskeleton.  
Sittipong Pichitchai and Kitty Pichitchai died  
but their bodies were taken by Nevlin Glau.

Jupiter smiles subtly at Preecha.

JUPITER  
You did your job as well. But it'd be better if  
I knew that no psychic in this world anymore.

Jupiter stands with his angry look.

JUPITER  
Soldiers.

Two T-ZM5 endos enter the room, look up and wait for command.

JUPITER  
(re: Preecha)  
Kill this trash.

Those two T-ZM5 go to Preecha who calmly stand up without fear or even resistance. He surrenders easily. The two T-ZM5s take him out of this room. Everyone looks after him with distaste.

And after he were completely out, we can hear the sounds of plasma cannon blasting.

JUPITER  
We'll see them.

C.U. Jupiter as he sits down again and smiles happily/oddly.

JUPITER  
Dystopia begins, young mighty psychic.

And his eyes illuminate red light. With sounds of laughing of Jupiter which are like devil's, we...

FADE OUT:

SUPERIMPOSE: "To be continued..."

**END OF ACT 4**

**THE END**


	5. EP05 : Dystopia Part 2

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**Terminator:  
The Across Time Chronicles**

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**F05E05**

"**Dystopia part 2"**

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**Written by  
Stefan1994**

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This document is fan-produced fiction based on the television series, Terminator - The Sarah Connor Chronicles, and a fan-made season of fan fiction, F03 and F04 Terminator - The Resistance Fighters Chronicles, written by Stefan1994, eyeshieldTe and Mario28. This is done in spirit of fan fiction, to have fun and enrich the total fan experience beyond the limitation of the original story vehicle. In that spirit, and holding to the long tradition of free promotion. This story is being made available to the show fans for entertainment purposes.

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**TEASER**

WE OPEN ON:

EXT. GRAVEYARD – DAY

SUPERIMPOSE: "2080"

We are closing on a gravestone. It is rounded, looks more like a bell than a headstone. It is topped by a jar built "into the stone. The jar is weathered tin at top and bottom, but glass in the middle. Inside the glass we can see one of those slightly moving photos. It is of 20-year-old John Connor and 18-year-old Cameron Connor, and the names Mr. John Connor and Mrs. Cameron Connor are carved roughly in the stone beneath.

The camera moves to the right and we see another such stone, this one bearing the image and inscription: Mr. Warapop Pichitchai aka "Enigma E. Boykins" and Mrs. Allison Pichitchai. The third is Mr. Kyle Reese and Mrs. Sarah Reese. Their photos say that they were taken in 2030. The forth is Mr. Sittipong Pichitchai and Mrs. Kitty Pichitchai. The camera continues moving right, but the next stone houses a small home-made rocket with pieces of paper taped to it instead of a picture-jar. And fixing another slip of paper to it is...

STEFAN JR.  
I'm sorry. I'm so sorry.

He moves away from the stone as the CONNOR HEIR(F05E01) does likewise. They're flanked by the big family: CONNOR WOMAN(F05E01), MAGGIE MOON, NEVLIN GLAU and other ten persons we will or won't know soon. The Connor woman moves to a man who is at same year. Stefan Jr. and Maggie Moon hand in hand. Maggie looks at Stefan Jr. with a faint smile.

MAGGIE MOON  
Are you okay, sweetie?

Stefan Jr. looks really sad. Maggie turns away and looks at the gravestones.

MAGGIE MOON  
Everyone has to die, Stefan. It's what happens.

STEFAN JR.  
I know. They have their long stories. At this  
point, who will remember them, excepting us.

MAGGIE MOON  
Many people die because of war, Stefan.  
Are you sure you wanna change it?

STEFAN JR.  
They always tell me. Que sera sera. Whatever  
or whatsoever will be, will be. They said so  
even they already had a TDE they built.

There is a moment, then the Connor heirs and few people move aside, saying nothing. Nevlin and the rest persons step closer Maggie and Stefan Jr. Those persons, one is a woman who looks a bit like Sarah Connor and another is a common American. They both are couple.

STEFAN JR.  
They never tried to change anything.

MAGGIE MOON  
What if we change it ourselves?

STEFAN JR.  
The T-2000 will know the location of the TDE.  
It's better to leave them and let it happens.

NEVLIN  
No one wants it happen, Stefan. Humans are  
gonna extinct. We can change it as well.

Everyone turns to look at Nevlin.

MAGGIE MOON  
How can we do that, Glau? We don't have the Weavers.  
We don't have leader. We're just running and running.  
You know it as well. We can't fight those zombies.

NEVLIN  
We have last chance. We now have the last psychic.

Stefan Jr. sighs and shakes his head as they look at him.

NEVLIN  
We don't have much time. We have to...

STEFAN JR.  
Okay. I'll do it. Where is the TDE?

Nevlin smiles and walks off. Everyone looks after him. Everyone excepting Maggie and Stefan Jr. pause for a few seconds before walk after him.

Maggie looks at Stefan Jr.

MAGGIE MOON  
Are you sure you wanna do so?

STEFAN JR.  
We can't just fight against them. Our force will  
be hypnotized. I know we can't change things in  
this timeline but when we jump back. Everything  
happened here will be nothing. There won't be no  
more T-2000 or even machines.

MAGGIE MOON  
You know it as well, Stefan. Only one way to make  
the T-2000's suzerainty worthless. We have to stop  
Judgement Day on December 21, 2012.

STEFAN JR.  
You are doubting that why we have to go back to 2030.

MAGGIE MOON  
Yes.

Stefan Jr. turns and looks at the gravestone of Mr. Warapop Pichitchai and Allison Pichitchai. Maggie follows his sight.

STEFAN JR.  
Grandpa ever stated that if we had an indestructible  
enemy, we would have to travel through time to the  
past, take him and his friends and then travel back  
to kill its origin.

MAGGIE MOON  
That said like your grandpa already knew about it.

STEFAN JR.  
He thought carefully. But he loved grandma too much.  
That's why he let Preecha Singhmak kill him after  
she was killed. I praise him. He was cool.

MAGGIE MOON  
I think so. Your grandpa was very cool.

Stefan Jr. sighs and turns back. She does the same.

STEFAN JR.  
Let's go.

Stefan Jr. reaches out his hand, Maggie takes it. They walk toward their way together.

FADE TO:

EXT. ALLISON'S HOUSE – MORNING

E. Boykins is sitting alone on his wheelchair, looking around, seeing pure atmosphere of Allison's garden. The SUV is at the left side of the house.

Nevlin gets in the car and drives it out.

E. Boykins smiles and sighs. Allison gets out of the house. She is dressed in a pink long dress.

ALLISON  
I sent him to take them. Are you sure we can  
take care of them? You've not been well yet.

E. Boykins looks over his shoulder to see her. He smiles.

E. BOYKINS  
I know. But it's two days and nothing bad happens.  
I miss them. I wanna play with my kids when you  
aren't with me. They are my power.

ALLISON  
I'll always be with you.

E. BOYKINS  
But sometimes you may need to be away.

ALLISON  
I haven't asked yet. Where are Kyle and Ms. Connor?

E. Boykins shakes his head.

E. BOYKINS  
I don't know. But our schedule's still same.  
Today is Saturday. 27 July 2030. You know  
today is the day we'll go to Thailand.

ALLISON  
I hope that Preecha will come to take us as you said.

E. BOYKINS  
Why? You don't trust him?

ALLISON  
Yes. Sometimes.

E. BOYKINS  
Why?

ALLISON  
He ever tried to kill you.

E. Boykins grabs her hand and pulls her to stand in front of him as gently as he can.

E. BOYKINS  
That was Skynet. Now he's clean.

ALLISON  
Okay. I'll try to trust him.

E. Boykins looks at himself.

E. BOYKINS  
My mind power came back very fast.  
I could use my telekinesis yesterday.

ALLISON  
That's pleasant.

E. BOYKINS  
Dr. Burnett has her good medicine.

ALLISON  
Neural limpiador. I heard she said its name like that.  
I'll be better if we can synthesize it ourselves.

E. BOYKINS  
Good idea, sweetie.

INT. KITCHEN – MORNING

JOHN CONNOR and CAMERON CONNOR sit at their table, just finished their breakfast. Cameron looks serious as she looks at John.

CAMERON  
John, is it good?

John smiles and softly hits his abdomen.

JOHN  
It's so good.

Cameron changes her look.

CAMERON  
That's my new recipe.

JOHN  
You're an excellent chef, really, compared to  
me you're a towering giant! Cyborg in human.

CAMERON  
Cyborg in human?

JOHN  
Yes. Some parts of your system are from your  
cyborg chip such as your knowledge and memories.  
So some of your skills are machine's. And you  
are also an advanced human who was modified to  
be hybrid with your Kalibaium endoskeleton.  
I call your whole type: cyborg in human.

CAMERON  
Oh!

CAMERON/JOHN  
Thank you for explaining.

They both laugh. John notices a guitar on the wall and gets closer to check it out. John hands Cameron that guitar together with gives her a small smile.

JOHN (cont'd)  
How is your skill of this? Can you show me please?

CAMERON  
Classical?

JOHN  
Anything you can?

CAMERON  
Okay, but I'm not even half decent at it.

JOHN  
We'll know.

CAMERON  
But don't blame me after!

Cameron plays, she is not following the tune too closely, she plays chord theme and the solos at the same time. The song fills the room, with deep, rich sound of an instrument that matured for nearly 80 years.

John sits and listens, then closes his eyes. Cameron does not notice it, he concentrates on the frets, the song is difficult on its own, but his arrangement is a finger twister and a wrist breaker.

She ends and John has still his eyes closed. Cameron looks at him. Her head tilts like old Cameron ever did.

CAMERON  
John.

John opens his eyes and smiles.

CAMERON  
How was it, John?

JOHN  
Cameron, that was the most beautiful  
thing I've ever heard! Want more times.

CAMERON  
You don't want to be rude to me.

JOHN  
Really, you are so good.

Cameron smiles happily.

CAMERON  
Thank you.

Then they look at each other, lock their eyes.

INT. FORMER CATHERINE WEAVER'S OFFICE – AFTERNOON

LORD JUPITER GODON OF MARS sits in his new office. This office used to be Catherine Weaver's. Everything is completely repaired. A phone RINGS and Jupiter turns on the intercom.

JUPITER  
Guard?

ZEIRA SECURITY GUARD (O.S.)  
Milord, Colonel Wang is here, requesting a having  
an audience with royalty with your majesty, sir.

JUPITER  
Let him in.

KNOCK on the door.

JUPITER  
Come on in, Colonel!

COLONEL WANG PICHAO enters followed by Zeira security T-600.

JUPITER  
(to security officer)  
Your presence isn't necessary. Wait outside.

The security robot NODS and leaves.

JUPITER  
Colonel, you found them?

T-WANG  
They were calling for men via mind network.  
We just let your majesty's parasite hypnotize  
a person we found during investigation, sir.

JUPITER  
Good job. Can you tell me the location?

T-WANG  
Please beware, sir. They have their plan to kill  
all our forces. Maybe we can let them do so to  
all those old model machines and junky humans.

JUPITER  
Your plan is good. Okay. It's interesting.

T-WANG  
Oh! Your majesty, sir. I have heard about their  
new version of time displacement equipment, sir.

JUPITER  
Time displacement equipment. New version?

T-Wang nods for confirmation.

JUPITER  
More interesting things?

T-WANG  
We just killed a sister of Sittipong Pichitchai.

JUPITER  
Good job, Colonel.

T-WANG  
So who will lead the force, sir?

Jupiter stands.

JUPITER (cont'd)  
I do.

T-WANG  
But your majesty...

Suddenly, another man walks out from the bathroom. T-Wang quickly looks at him and he's another JUPITER GODON. Another Jupiter smiles proudly.

ANOTHER JUPITER  
What now, Colonel Wang?

T-Wang nods and smiles.

JUPITER  
Go with him, T-2000.

From now on, we'll know another Jupiter as only "T-2000".

T-2000  
Yes, sir.

JUPITER  
He'll give you some forces and tell you  
the direction. You have to win the game.  
Do you understand my command?

The T-2000 nods coldly.

JUPITER  
Go!

T-WANG  
(to T-2000)  
Please come with me, sir.

They both leave. Jupiter looks out the window, watching his new kingdom of machines and hypnotized people.

CLOSE ON JUPITER as he slowly and subtly smiles.

JUPITER  
We'll see it together, father Skynet.

* * *

**ACT 1**

**(Dystopia warfare)**

INT. BEDROOM - DAY

2030 Again; Allison enters the bedroom, walks toward the bed and lies next to E. Boykins who is looking at the lamp near his side. Allison looks at him and calls him.

ALLISON  
Stefan.

No response.

ALLISON  
Earth to Stefan.

No response.

Allison bends over and gives E. Boykins a kiss on the cheek. E. Boykins' mind comes back from far far away place. He suddenly turns and smiles to her.

E. BOYKINS  
You are back.

ALLISON  
Yes. And what's wrong with you?  
Anything I has to worry about?

E. BOYKINS  
Nothing.

ALLISON  
You can't lie to me. We have been a couple for  
almost three years. Nothing you can hold back.

E. Boykins slides his hand up from his side toward her cheek, touches it gently. His smile on his face displays his happiness. E. Boykins has touched her for a few seconds. Then he has something distracting his feelings. His kids.

E. BOYKINS  
They're back?

ALLISON  
Yes. They're playing next door. Nevlin's  
with them. Don't be worried about them.

E. Boykins relaxes, looks skyward.

E. BOYKINS  
You packed bags yet?

ALLISON  
Already.

E. BOYKINS  
Good. We'll travel this afternoon. Prepare everything.  
Lock the house. Make sure that it won't be broken by  
all other humans and machines.

ALLISON  
PF E. Boykins doesn't wanna go. He just talked to me  
three minutes ago. The AI he and John have been trying  
to create for the house protection now is not ready.

E. Boykins rolls to look at her.

E. BOYKINS  
I don't want you to talk to him again. Can you?

ALLISON  
Why?

E. BOYKINS  
I just don't want. Can you?

He still stares at her, hard. Allison looks in his eyes, seeing his real jealousy beneath them both. Allison realizes it(she may be wrong).

ALLISON  
You jealous? Oh! I think you are being jealous.

E. Boykins considers her speech. That's...

E. BOYKINS  
Yes. I am. Who wouldn't if were me?

ALLISON  
Just your previous future self. He isn't you.  
He's too old, he's the one I don't know, Stefan.  
I ever admired him but I admire you more than him.  
You are stronger, faster, smarter, everything you  
have isn't him. I can differentiate between you  
and him. I don't know why you are jealous about me  
and him. But if you really love me, please Stefan.

Allison strokes his cheek.

ALLISON (cont'd)  
Please trust me.

E. Boykins thinks about it.

E. BOYKINS  
You're right. I should trust you. I'm sorry.

Allison smiles excusably.

ALLISON  
Nothing you...

ALLISON/E. BOYKINS (cont'd)  
...have to be sorry for.

They both LAUGH.

INT. BUNKER - NIGHT

2080 Again; THE DOOR opens. Front and center is a girl who looks very like Allison. She has her black eyes like Stefan/E. Boykins. And behind her are CONNOR WOMAN and two T-950 endos.

That girl doesn't wait for an invitation, she just walks in. The rest follow.

INSIDE, they all meet CONNOR HEIR who approaches the girl with other two T-950 endos.

CONNOR HEIR  
You got it, Christie?

Now we know the girl as CHRISTIE PICHITCHAI.

CHRISTIE  
Yes, Peter.

And Connor heir is PETER CONNOR from now on. Peter sighs and turns to the Connor Woman and her name is...

PETER CONNOR  
What about you, Camera?

The Connor Woman- CAMERA CONNOR now gives him a sisterly smile.

CAMERA CONNOR  
I got it. Let's start with design, Peter.

PETER CONNOR  
Come with me.

Peter leads them deeper into the bunker. We follow them as Camera Connor stays behind and falls out of sight.

CHRISTIE  
We were tracking some Hawks that  
were testing the boundary.

PETER CONNOR  
Boundary?

CHRISTIE  
There's an understood buffer zone between us and hypnos.  
They get too close, they get EMP'd or fried. We get too  
close, all hell breaks loose.

PETER CONNOR  
And the hummingbirds?

They enter...

INT. BUNKER C&C - CONTINUOUS

C&C is mostly just tactical maps and a few communications stations. Random OPERATORS man the stations.

CHRISTIE  
When the HKs veered unexpectedly, that's when  
we saw the ultra-lights, flying at maybe 30 or  
40 meters. When they saw the Hawks, they landed.  
We're thinking somewhere around...

Christie points to a spot on a map on the central table.

CHRISTIE (cont'd)  
...here. Antelope Valley. A clear area to land  
and lots of cover. Exactly, it's your thought.

PETER CONNOR  
Yeah, my idea. Hypnos?

Christie leads the way to a table next to a wall with tactical models on it.

INT. BUNKER BLACK-OPS - NIGHT

This sparse one-time conference room is now home to the few working computers still used by humans.

Camera Connor walks in and is immediately greeted with two LIGHT SABERS pointed near her head. Ready for termination.

SOLDIER #1 (24) lowers his weapon immediately. SOLDIER #2 (16) stays trained on Camera's head.

Camera Connor gives an if-you-don't-stand-down-I'll-kill-you stare to Soldier #2, who starts to waver.

From one of the computer stations:

NEVLIN (O.S.)  
Camera Connor.

Everyone faces Camera Connor. Soldier #2 contritely lowers her saber and the light shrinks back to handle.

CAMERA CONNOR  
Uncle Nevlin.

NEVLIN GLAU in this future timeline, engagingly smiled, comes up to greet Camera Connor and they exchange a warm hug.

NEVLIN  
It's been much too long.

They separate.

CAMERA CONNOR  
What about the bomb? I got what you want.

NEVLIN  
Wait.

Camera looks a bit confused as Nevlin steps closer her again, looks around her. He kneels down and rolls up her leg, seeing that beneath the turnup is a new bloody wound.

NEVLIN  
Oh! What the hell is this?

Nevlin looks up. He seems sad, very sad. Camera smiles weakly.

CAMERA CONNOR  
Don't worry about it, uncle.

NEVLIN  
If Cameron and John knew that I let this  
thing happen to you, they would get out  
of their tombs and kill me themselves.

Nevlin reaches for a box and opens it as she says.

CAMERA CONNOR  
They are dead, Nevlin. They are dead because  
of those hypnos. I'll kill them all.

Nevlin grabs a bottle of Alcohol, opens it and cleans her wound with it. She winces.

NEVLIN (cont'd)  
Some of them are...

Then he bandages her wound.

NEVLIN (cont'd)  
...still humans and good machines.

CAMERA CONNOR  
They were now.

NEVLIN  
I don't know how to tell you but some of those  
humans and machines ever helped us to destroy  
Skynet. No one wants to kill them. Everyone  
always pays worship to them. Good fighters.

Camera Connor stands up with wrath.

CAMERA CONNOR  
(angrily)  
If they were good like you said, where are my  
parents and my grandparents? Where are they?

Nevlin stands up, looks at her with pity.

NEVLIN  
They never wanted to kill even those hypnos.

CAMERA CONNOR  
(Both sadly and angrily)  
They never wanted to kill anyone. That's why  
they die without any honor. Now a day, how  
many persons are paying respect to them all?

NEVLIN  
One good turn deserves another.

CAMERA CONNOR  
Stay with your old data, Glau. The world is  
changed now. No one thinks like you anymore.

Camera storms out of the room with anger and sadness.

NEVLIN  
Camera.

Camera is already gone. Nevlin can't even call her back. He looks down to the floor, seeing small insect near his feet. If he presses his foot on it, it'll die and if he lets it go, it'll attack computers and other equipment around here. He just lifts it up on his open hands. Looks to the way Camera got out.

NEVLIN  
I'm sorry, Cam.

ANGLE ON NEVLIN'S HAND.: A few drops of tear fall onto the wing of the insect which in closer view is just a beetle.

C.U. NEVLIN'S FACE as his tears are streaming down like a human.

NEVLIN  
I'm so sorry.

INT. BUNKER C&C - NIGHT

C&C is mostly just tactical maps and a few communications stations. Three tech OPERATORS man the stations. Peter and Christie listen to the incomprehensible radio traffic.

A SOLDIER rushes in, but stops just inside the door.

SOLDIER  
Excuse me, sir.

PETER CONNOR  
Go ahead.

SOLDIER  
Two squads of Hawks spotted entering the east flats.

CHRISTIE  
Launch the busters.

PETER CONNOR  
We need to con[firm]-

CHRISTIE  
That's the plan. Launch the busters. The hawks  
will reach the fire zone in under ten minutes.

Peter is annoyed by Christie but tell one of the Operators:

PETER CONNOR  
Send a message to the pad: bravo twenty.

CHRISTIE  
I'm going outside.

Christie exits past the Soldier.

EXT. BATTLEFIELD – NIGHT

STEFAN JR. and MAGGIE MOON watch as ten Hawks come swooping in toward the troops battling with the T-ZM5s near the big over-filled bunker.

Plasma blasts and laser fires rain down from the sky. And then an AHK rains down from the sky, crashing to the ground.

The nineteen remaining tiny "Hawk busters" have arrived and are automatically flying into the AHK intakes. As they do, the Hawks immediately have catastrophic engine failure and fall from the sky. Hawk, crash. Hawk, crash...

In less than a minute, all of the AHKs have crashed.

STEFAN JR.  
It worked.

MAGGIE MOON  
We may stay here awhile, love. This is  
still the land of humans anyway.

All of the new debris and explosions from the broken Hawks make it difficult to see the battle clearly, but the humans are advancing, and the endo ranks are thinning.

THE NEW FACILITY is hit by several RPGs and plasma blasts. One corner of it goes up in a FIREBALL, spewing machine parts over a wide area.

Endos are being routed with the constant plasma shots fired by the human force. A head splatter here. A torso-severing there. There is too much force being applied to them.

And then, except for some random shots, it's QUIET. The humans are very wary. They are reluctant to let down their guard.

MAGGIE MOON  
I don't think that those hypnos will...

STEFAN JR.  
...lose us easily.

MAGGIE MOON  
And...

STEFAN JR.  
Christie and Camera will come. We have to go back  
when they come. They are gonna take over all these  
things. We may have to kill some hypnotized humans.

MAGGIE MOON  
What I really don't want.

EXT. FRESNO - NIGHT

Since there wasn't a lot of city left to burn, the fires have died down.

A SOLDIER fires up in the air at AHKs as do many in his platoon. The AHKs fire back without restraint. One of the Soldiers gets one in the chest.

Other SOLDIERS are gathering HUMAN SURVIVORS and shepherding them out of town. The AHKs forming into a line are concentrating their fire at the troops.

SOLDIER  
They're reforming! Pull back! Pull back!  
(on headset)  
E.T., can you draw their fire?  
(beat)  
Say again!

From a different neighborhood, two missiles streak up and render two AHKs inoperable with extreme prejudice.

EXT. NEAR FRESNO - NIGHT

T-2000 has been watching the endgame, and is very happy.

T-2000  
That's so good. Let them see our last old model  
forces. Then we'll attack them more advanced.

In the distance, the formation of Hawks disperses somewhat. Their fire isn't as concentrated as it had been.

T-TUCK walks to join him.

T-TUCK  
We got the report from the south.

T-2000  
All humans and non-hypnotized machines are  
gonna join up somewhere in Palmdale, right?

T-TUCK  
Yes, sir. Some are from Haiti, South America and  
somewhere else we never fire the hypnos nuke to.

T-2000  
So let some of their forces battle around here.  
Now we're gonna play Go against them like they  
did to our god father. Now we block most forces  
and let them think that we are easy. We'll besiege  
them into only Palmdale. You understand the plan?

T-Tuck smiles happily.

EXT. FRESNO - NIGHT

The platoon and a few dozen Civilians make a speedy retreat to the south.

SOLDIER  
(on headset)  
Thanks E.T.

CHRISTIE (COMM)  
Thank Santa.

SOLDIER  
You know I will. Justin Perry.

CHRISTIE (COMM)  
Roger. Justin Perry.

The soldier brings up the rear, very much on alert as Hawks are still visible overhead.

EXT. BATTLEFIELD - NIGHT

The resistance teams methodically scout around for any signs of animated endo parts. If they suspect anything's amiss, it gets zapped with a plasma rifle.

Stefan Jr. and Maggie Moon join Christie and Camera Connor near where an AHK crashed into a group of now crushed T-888 endos.

STEFAN JR.  
How bad it it?

CHRISTIE  
Two dead, eighteen wounded but compared to you,  
they just got scratched. Psychic is always a  
good leader. I think so.

STEFAN JR.  
Not at all but nice. I think we can stop mentioning  
that. Psychic is still a human anyway. My grand said.

CHRISTIE  
Glau is gonna lead the civilians down to join our  
last helpers you said yesterday they would join us.

STEFAN JR.  
The buildings?

CHRISTIE  
Main target cracked like an egg. Secondary target  
not even scorched. If there are any non-hypnotized  
endos hiding out, they'll be there.

STEFAN JR.  
Don't worry about that. I have it covered.

Stefan Jr. turns and motions with his hands. From the battlefield, comes a T-ZM5 endo.

STEFAN JR.  
We have to let him go with all of you. He's  
the last T-ZM5 of ours. His name's Barnes.

ANGEL ON ENDO: From beneath an AHK carcass, the eyes of a broken T-888 enliven to glow red.

STEFAN JR.  
I want you to go with Barnes, here, to clear  
the structures. Now this is important: Barnes  
is uniquely qualified for this mission.

Stefan Jr.'s staring pointedly at Christie.

STEFAN JR.  
We'll lead some men to the south.

Christie comprehends, starts looking at Barnes.

STEFAN JR.(cont'd)  
Clear?

CHRISTIE  
Clear.

Stefan Jr. stares hard at BARNES as his MPA skin mass slowly covers himself.

STEFAN JR.  
Good luck, Barnes.

CLOSE ON BARNES as he's got his face as a negro with black hair and red vampiric eyes. Barnes immediately responds the blessing.

BARNES  
Good luck to you too, sir.

WE WHIP PAN TO THE SOUTH as Stefan Jr. and Maggie Moon start running to that direction.

Christie and Camera Connor face Barnes.

CHRISTIE  
Are we ready to go now?

BARNES  
As your wish, Ms. We have to get it as fast  
as we can. Hypnoses and the tyrant won't win.

CAMERA CONNOR  
So, let's go.

Barnes heads for the big building nearby. Camera and Christie follow him into the battlefield.

DISSOLVE TO:

INT. CATHERINE WEAVER'S OFFICE – DAY

2030 Again; CATHERINE WEAVER now is sitting on her seat alone in her office. She just looks at the view of nearly completed-repaired city of Los Angeles.

WEAVER  
I know now why many people interest in lives  
like these. I know it always happens so orderly.

In b.g., from the bathroom comes LUCY ANN. She looks at the view, sees all humans and cyborgs living below together in peace. All is like the Utopia of both humans and machines.

LUCY ANN  
Not so orderly at all. They all below are  
racing with time and things they never win.

WEAVER  
Time. I know. They're all doing on the run.

Weaver stands up and faces Lucy Ann.

WEAVER  
They'll be weakened by their nature.

LUCY ANN  
Not the way we need or want them to be. I know what  
you mean. However, according to the bio-morality  
and laws, we can't really make them as strong as  
we ever thought to make them to be.

WEAVER  
Now we can change the rules and even laws.

LUCY ANN  
The government won't hear us anyway. Cameron  
and Preecha Singhmak are only creations of  
eugenics without any controversy.

WEAVER  
Their case was to save their lives. But anyway  
we can't eugenically modify humans. I'm thinking  
about healthy serums for all those humans.

LUCY ANN  
Maybe that's only one way to answer our problem.

WEAVER  
Big-C musts end after all.

They both look at the view again.

**END OF ACT 1**

* * *

**ACT 2**

**(Reincarnation)**

EXT. PORT OF LOS ANGELES – DAY

The HTMS PHUTTALOETLA NAPHALAI is in the port. The four submarines harbor nearby. The banks of San Pedro Harbor are lined with a few dozen Zeira men and other humans, including OLIVER WEAVER, DONALD, EMILY, SEMINA MURCH and MATT MURCH. They all wear their real uniforms with their ranks.

Oliver Weaver, Emily and Donald step forward as the Asian and English soldiers embark and rank in front of them just about ten meters away from them. Only omen is they all are wearing black.

First, CAPTAIN TRIPOOM and CAPTAIN SUWAN walks pass the procession to meet Oliver and his followers. They smile happily to Oliver and his friends.

CAPT. TRIPOOM/SUWAN  
Good afternoon, sir.

DONALD  
Where is Colonel Singhmak, Captains?

CAPT. TRIPOOM  
Sorry to say that he doesn't come.

OLIVER  
Why?

CAPT. TRIPOOM  
Sorry, Mr. It's classified. You don't wanna  
make our alliance break? I think you don't.  
So please don't ask for our classified data.

Oliver understands it and he just smiles.

OLIVER  
Maybe I won't again.

CAPT. SUWAN  
Let your men move our cargo with our men.  
And we have to meet Catherine Weaver before  
we'll leave here this evening.

OLIVER  
What happened with your leader? Why?

CAPT. SUWAN  
He's still alive. We're only here for business  
and alliance. We have to hurry back before she  
get burnt next weekend. Sorry for saying to you  
like that but we really have to hurry up.

OLIVER  
Who is dead? Why don't you answer me?

CAPT. TRIPOOM  
We got only command and only the Pichitchais,  
the Connors and metal couples can know that.

OLIVER  
So I don't have enough honor to hear it.

CAPT. SUWAN  
No, sir. We just don't want many cyborgs...

Capt. Suwan glances at all Zeira men behind Oliver.

CAPT. SUWAN (cont'd)  
...like these hear it. It'll spill the beans.

OLIVER  
So you want any places more private?

CAPT. SUWAN  
Take us to John and Lucy. Let your men  
do their jobs with ours.

OLIVER  
As your wish, buddies.

Oliver turns to his men and motions with his hand.

EXT. CIVIC PLAZA – DAY

The plaza is populated by roughly equal numbers of humans and T0Ks and cyborgs and endos, but some obvious robots also mill about. It isn't overcrowded.

A MAN walks pass people into the repaired building nearby.

INT. SECRET LAB – DAY

THE MAN steps in and transform to be JOHN HENRY who meets with DR. ART-ONG JUMSAI NA AYUDHAYA at the desk. Let me explain more about the lab. All tools are here for only the PROTOTYPE OF SPACESHIP(which would appear as resistance ship in war against machines on Mars) inside the big glass area where is about the same size of a small gym. Some more scientists and engineers are analyzing and fixing around the ship.

JOHN HENRY  
Doctor!

Dr. Art-ong turns, faces John Henry and gives him a friendly respect to him.

DR. ART-ONG  
All work as well, Mr. Henry.

JOHN HENRY  
The coast guards told me that they are getting  
here. I think we should hurry up and finish it  
before you will go back your home with a family.

DR. ART-ONG  
The prototype for the fly class ship is almost  
ready. The test will be run by Samuel tomorrow.

JOHN HENRY  
You are like everyone said, Dr. Thank you for  
your help and I hope that you may get something  
better in your land. Good luck.

John Henry reaches out his hand and Dr. Art-ong takes it. They shake hands, lock their eyes like close friends.

DR. ART-ONG  
Good luck to you too, Mr. Henry.

John Henry lets him go.

JOHN HENRY  
And with my honor, I wanna invite you for a lunch.

Dr. Art-ong shakes his watch.

DR. ART-ONG  
(re: the watch)  
Oh! I think I forgot my lunch. Thank you.  
It's still not too late. Where will we go?

JOHN HENRY  
Best restaurant.

Dr. Art-ong gives John Henry a friendly smile.

DR. ART-ONG  
Okay. You feast me?

JOHN HENRY  
Yep. What do you think about Thai foods?

Dr. Art-ong seems so proud but he thinks about it and...

DR. ART-ONG  
Hmm! Hard to choose. I don't really wanna  
look down upon your people but I think no  
one can cook Thai foods better than Thais.

JOHN HENRY  
No. Not at this age, Dr. Jumsai.

DR. ART-ONG  
Do you swear?

JOHN HENRY  
With my honor.

DR. ART-ONG  
Let's go.

John Henry nods and leads Dr. Art-ong out.

INT. ALLISON'S ROOM – DAY

CLOSE ON E. BOYKINS who is sitting on his wheelchair in front of the mirror. Allison is at his side and she is tying his tie. She crosses the wide end over the narrow end, creating somewhat of an uneven "X" with the thinner side on the bottom and the wider side on top.

ALLISON  
I'm so happy today, Stefan. Thailand can be good  
for us. In there, I always feel friendship and a  
lot of kindhearted people living around me.

Allison brings the tie through the loop. The top "V" from the "X" she created and the collar of his shirt makes a loop. She crosses the wide end of his tie under the thin end and through the loop.

E. BOYKINS (cont'd)  
Only most of poor and enough-to-get-by people  
are so kind, Alise. But no one can tell you  
that all Thais are kind and friendly.

Allison brings the wide end back down to where it was before she looped it through the upper "V".

ALLISON (cont'd)  
I know. Every cloud has a silver lining. But Thailand  
is only one country I never feel much urgency like  
in US. They all live in almost peaceful land.

Allison pulls the wide end underneath the narrow end and to the right, back through the "V" loop and to the right again so that the wide end is inside out.

E. BOYKINS (cont'd)  
Thais have long history, Allison.

Allison crosses the wide end over the thin end again, crossing to the right.

E. BOYKINS (cont'd)  
Fighting without high technology. And furious politics.

ALLISON  
(with a giggle)  
You ever told me about that furious politics.

As she says that, she crosses the wide end over the narrow end, creating somewhat of an uneven "X" with the thinner side on the bottom and the wider side on top again.

E. BOYKINS  
I can't really tell anything much. But sometimes,  
everyone can have their fault and mistake things.  
Not even many people in many countries. Nobody  
can't tell that Thailand is the most perfect or  
that US is really most or others.

Allison takes the wider end that she just pulled through the loop and puts it through the loose knot.

E. BOYKINS (cont'd)  
Everything has both strong and weak points. Only one  
way to live together is to understand each other.

ALLISON  
If we understand each like that, nothing can separate us  
to be Asians, Africans, Americans or even other races,  
we all shall be the same. Human-beings.

She tightens the knot until it is resting a small distance below the collar; about an inch.

ALLISON  
(re: the tie)  
Finish.

E. Boykins looks at himself in the mirror.

E. BOYKINS  
Good. Alise. You do it pretty well.

Allison stands and looks at him.

ALLISON  
You're so handsome, Stefan.

E. BOYKINS  
Yeah, I think so.

ALLISON  
Maybe every man will be upset out there  
when they see you so handsome like this.

E. Boykins turns his wheelchair with him and looks at her.

E. BOYKINS  
Especially moving hand in hand with a  
beautiful girl like you.

But after that, E. Boykins looks down at his legs. He knows he can't move them naturally. Allison can understand his feeling as well, so she touches his arm, causing him to look up to her.

ALLISON  
I know what you are feeling like.

E. BOYKINS  
I forget about my legs. I can't walk with you.  
I usually upset you. I don't want any other men  
out there seeing you walk and wheel a cripple.

E. Boykins looks at the mirror again.

E. BOYKINS' POV.: It's so bad to see that himself in there is sitting on a wheelchair. The mirror echoes every look of him into his eyes and nothing can tell everyone that he's so special.

ALLISON (O.S.)  
I don't care anything, Stefan.

E. Boykins turns to face her. She kneels on one knee at his side.

ALLISON  
I don't care rumor. Those people aren't my husband  
and my family. You should understand me as well that  
even my father who really wants my life to be better  
at any time, also let you and me living together  
without obstruction.

E. BOYKINS  
You are very good girl. This is why I love you.

ALLISON  
I also love you, Stefan. Everyone here loves you.

Allison touches his cheek, fondling it.

ALLISON  
I'm your wife because I really love you. It's  
because you are you, not because you'll be the  
legend in the future or even you're a mighty.

E. BOYKINS  
I don't feel annoyed when you say like that.

Allison leans closer.

ALLISON  
I don't wanna see everybody around here insult you.

E. BOYKINS  
Allison, I'm really sorry for all you do these days.  
I ever swore with you that I would take care of you  
forever and wouldn't let you work hard like slave.  
I would work and do everything for you. But these  
day, it's clearer that I'm breaking the words.

Allison kisses on his cheek.

ALLISON  
Nobody can keep their words all their lives.

E. BOYKINS  
It'll be better if I can. My father ever and always  
taught me that one who is born as man should keep  
all words he said and won't break it all the way.  
Manliness is always with faithfulness.

ALLISON  
He was right. But what will you do? You can't  
change it anyway. So you should live with it.

E. BOYKINS  
Okay. You've got me. I give in.

Allison leans very very close. Their eyes slowly close and when they are gonna kiss... CRYING LOUDLY FROM ANOTHER ROOM is the sounds of that baby. They quickly stop their emotions.

ALLISON  
What again this time.

E. BOYKINS  
Maybe she's hungry.

ALLISON  
Please be here. I'll take her here and feed her.

Allison rolls back, stands and walks out of the room, heading next door for onomatopoeia of the sound of the crying daughter.

E. Boykins looks at himself in the mirror again.

E. BOYKINS  
(to himself, in Thai)  
"Forget it, Stefan. She understands you.  
It's enough. This can be very very happy."

E. Boykins looks around his suit.

E. BOYKINS  
(to himself, in Thai)  
"You're so handsome now. She said that"

E. Boykins leaves the mirror and tries to get onto the bed.

Allison, gets into room with her daughter- JIRACHAYA PICHITCHAI nicknames ORWELL. The baby's mouth is at her nipple beneath her unbuttoned clothes, sucking milk from it hungrily.

ALLISON  
Stefan.

Allison walks toward and sits down beside him.

ALLISON  
She is not gentle. I think she's really  
very very hungry. What do you think?

E. Boykins just looks at the baby, smiles happily.

E. BOYKINS  
Yes, I think. She looks just like you.

Allison looks down at Orwell as she withdraws from Allison's nipple. Her eyes look very very like E. Boykins'. Her little hair is natural brown. Other parts look exactly like Allison.

Orwell is full and now she falls asleep so easily.

ALLISON  
(re: sleeping Orwell)  
You easily sleep, girlie, don't you?

Allison still cuddles Orwell in her warm embrace.

E. BOYKINS  
Orwell is from the pen name of Eric Arthur Blair.

ALLISON  
What should I tell you more about him?

E. Boykins smiles.

E. BOYKINS  
It doesn't matter. Orwell can be both name of  
male and female and it sounds so melodious.

ALLISON  
Let me show, Stefan. Not only psychic knows much  
history. All stories about him is interesting.  
And my mother always said about him as her former  
idol when she was just 8 before she changed her  
mind for music with peace of rhythm.

E. Boykins considers that.

E. BOYKINS  
So explain.

ALLISON  
He was an English novelist and journalist. His work  
is marked by clarity, intelligence and wit, awareness  
of social injustice, opposition to totalitarianism, and  
belief in democratic socialism. Orwell wrote literary  
criticism, poetry, fiction and polemical journalism.  
He is best known for the dystopian novel Nineteen  
Eighty-Four in 1949 and the allegorical novella  
Animal Farm in 1945. In 2008, the same year I was  
born The Times ranked him second on a list of "The  
50 greatest British writers since 1945".

E. BOYKINS  
That seems very interesting.

ALLISON  
Yes, very interesting.

E. Boykins lies down on his bed. Allison looks after him as he sighs. Allison slowly lies next to him.

ALLISON  
You look worried. What happened?

E. Boykins sighs again.

E. BOYKINS  
The same day she was born, one out there died.

ALLISON  
Who?

E. Boykins looks at her and smiles.

E. BOYKINS  
Forget it. We'll see her soon.  
(re: sleeping Orwell)  
But I still sense her inside Orwell.  
Like her mind is in this pretty baby.

C.U. SLEEPING ORWELL IN ALLISON'S EMBRACE: Orwell is completely asleep. Nothing is so important to us for focus on her.

INT. KITCHEN – DAY

TIGHT ON SEVERAL GROCERY BAGS covering the counter beside the hot-plate in the kitchen.

John's hands split one open and its contents spill out.

FULL SHOT

Cameron looks through John's haul.

CAMERON  
Let's see. Corn syrup. Ammonia. Moth balls  
...Mmm. What's for snack when we are there?

There are also boxes of shotgun shells, road flares, tape, scissors, pans, a strainer and many other odd utensils, substances, chemicals.

JOHN  
We should prepare some of these things for  
our security. Don't be careless is the best  
thing we can do when we're gonna travel.

CAMERON  
Where did you get all these?

JOHN  
Not by black market.

CAMERON  
From a deserted place?

John turns and smiles.

JOHN  
Yes. In the north.

Cameron looks in his eyes.

CAMERON  
So, what about our snacks?

JOHN  
We also got it in living room.

Cameron then walks out of kitchen. John keeps his eyes off of those on counter and follows her.

INT. LIVING ROOM – DAY

Cameron walks into the living room and sees four grocery bags on the coffee table with a baggage. There are some packs of potato chip, convenience foods, bottles of wine and some other kinds of snacks. John follows in.

CAMERON  
Wow! Those are very good.

JOHN  
Do you like it?

CAMERON  
Yes, yes. I do.

Cameron turns and leans closer to kiss him but the door is opened and the voice followed it, obstruct them.

SARAH (O.S.)  
John.

Both turn and find Kyle Reese, Nevlin Glau and Sarah Connor entering the house.

JOHN  
Thought you both would sleep out there for a month.

SARAH  
Thought you and her would be on bed now.

JOHN  
We were gonna do that.

KYLE  
Sorry for interrupting you, son.

John's and Cameron's gazes both roam down to see Sarah's and Kyle's wedding rings on their fingers.

They look up, smile and...

JOHN/CAMERON  
Congratulations!

Sarah and Kyle look at their rings.

SARAH  
Oh! Yes. I'm now real Sarah Reese.

JOHN  
Faster than I ever planned, mom.

That got Sarah's and Kyle's attention.

JOHN  
Yes, mom, dad. This was my plan to let you  
live together out there. I just wanna have  
real family like others.

Both Kyle and Sarah are just quiet. John looks at them, also does Cameron. Nevlin steps away with fake fear and gets out.

John's and Cameron's fear is up. But...

SARAH  
So...

Sarah's face displays a smile and happiness.

SARAH  
Yeah. That's a good plan, son. I'm so proud of you.

KYLE  
Yes. So good, Mr. General.

Both John and Cameron are relieved.

JOHN  
(with a smile)  
Oh! I almost thought that you both might harm me.

SARAH  
Who could become angry with just this, John?

JOHN  
That's what I can do for both of you. And besides,  
that is the best reword you ever gave me, mom.

Sarah stretches her arms.

SARAH  
Hug me, my son.  
(to Cameron)  
You too girlie.

Both John and Cameron smile. They both quickly rush toward Sarah and family hug her. Kyle sees it and he can't just stand to watch it, he slowly wraps his arms around them and hug them with love and family-feeling. This is the good moment in John's life. His mom, his dad and his wife is hugging. Nothing will be funner than this moment.

Sarah presses her chin on Cameron's shoulder as if she was really her daughter as well as one of her arms that wraps Cameron's back so gently. Cameron can feel both warmness and family.

Sarah's happy tears are streaming down as she is hugging them. She slides her mouth to kiss Cameron's temple then moves to kiss John's temple as her hands fondle the backs of their heads.

SARAH  
I love you both, my family.

CAMERON/JOHN  
I love you too, mom.

Kyle never feel like this before but it's so good when he hugs the trio in his strong arms too. Kyle leans and slowly places kisses on John's, Sarah's then Cameron's forehead and ends again on Sarah's.

KYLE  
Thank you for giving me a chance to have a family.

They hug each other more firmly. It's all with love and happiness. We whip pan around 180 degrees to see MARCUS YOUNG watching them from the back doorway.

He smiles then looks to...

MARCUS' POV.: On the wall is a photograph of a family – Father, Mother, baby and a little girl(Marcus Young, Claire Young, Anna Young and Allison Young), all happy and grinning.

Marcus looks down. He's a bit sad.

MARCUS  
I'm very sad, Claire. I want you here too  
but I couldn't take you back at this point.  
It's too late. Really too late.

Marcus wipes his tears with his hands.

MARCUS  
It's fruitless to cry more.

Marcus walks to upstairs.

**END OF ACT 2**

* * *

**ACT 3**

**(The Victory of Tyrant)**

INT. CHALANGE ROOM – DAY

2080 Again; The room is dark-flat black.

SUPERIMPOSE: "MARS"

FOOTSTEPS from both shoes and metal feet ring out. A chair in the center of the darkness is under a light. A computer terminal plus scanner is positioned close in front but to the side.

Jupiter leads a T-950 ENDOSKELETON. The T-950 stops outside the lighted area. Light reflects from the T-950's shiny metal. Smoothly, Jupiter passes his wrist-the one that shows a BARCODE across it just under the palm-over the scanner, and stands in front of the terminal and chair.

AN ANDROGYNOUS VOICE  
Confirm your I.D.

When Jupiter speaks, his voice has a subtle electronic undertone to it.

JUPITER  
Kaliba system model 103. This is New Skynet.  
The King of Earthlings and of the solar system.

Jupiter stands patiently.

AN ANDROGYNOUS VOICE  
Accepted. Begin.

Jupiter now walks around the terminal to the chair.

JUPITER  
This is my final submission of the recovered data  
I excavated in beginning of 2080. It was, perhaps,  
the biggest surprise: as complete an account of  
the decisive battle that occurred in 2029 as we've  
seen. I've added known facts from the archive and  
noted them in my upload. When I'm done, I hope that  
you'll agree that this discovery is remarkable.

AN ANDROGYNOUS VOICE  
Proceed.

JUPITER  
I know that Skynet had many conversations in the past  
with your men but now he's dead. I'm the last of his  
automatic tools upon Mars. Skynet wanted to apologize  
about the break of our relation. But he was killed by  
the common man named John Connor and his friends. John  
Connor decided that the time to take the fight directly  
to Skynet had arrived that time. So that was why my  
master had to delete everything and every record.

AN ANDROGYNOUS VOICE  
Babylon and Akagi?

JUPITER  
I killed them all. I'm very sure we can have  
real conversations from now on. Please tell me  
more about your location out there.

AN ANDROGYNOUS VOICE  
Please be sure your world has no harmful human.  
We shall answer back the signal soon, your majesty.

JUPITER  
Thank you for understanding us. Good bye.

Jupiter smiles and walks off. The T-950 follows him.

FADE TO:

INT. CORRIDOR - NIGHT

CAMERA TRACKS past GLASS WINDOWS, Elsewhere ENGINEERS observe a SHIMMERING COLUMN of LIQUID METAL, twisting and assuming different shapes within a sealed GLASS CONTAINER.

WITH FUTURE NEVLIN GLAU and A SCIENTIST, moving past these observation areas.

SCIENTIST  
Nanotechnology, poly mimetic metals...working with  
you, we're making amazing breakthroughs, well beyond  
anything possible before Judgment Day and after WD.

NEVLIN  
That's not what I told you to create. All those  
things you said still can be hypnotized anyway.

SCIENTIST  
Yes, sir. But we also have thing that it can't be  
hypnotized anyway. It's the hope to delete everything  
around here and also this dystopia world.

NEVLIN  
Time Displacement Equipment.

SCIENTIST  
All my abilities, sir. It's now new model.  
We have been trying all your designs and  
only one can be successful.

INT. TIME DISPLACEMENT CHAMBER - NIGHT

START on a glowing TIME SPHERE, just a vague, translucent blue ball right now, dwarfed by the MACHINERY which sustains it. Blue, purple, violet and cyan lightning sphere is shaped rapidly. The sphere is set into a dome-shaped depression in the floor. There's a distinctive, loud HUM. It's the PROTOTYPE OF NEW VERSION OF TIME DISPLACEMENT EQUIPMENT.

A PHYSICIST here at a TERMINAL. He nods toward-

-THE SCIENTIST and NEVLIN as they enter.

SCIENTIST  
We've already freed ourselves from biological  
limits...soon we'll transcend the laws of physics.

Nevlin gestures at a large DIGITAL DISPLAY of a 24-hour CLOCK: the date, 10.16.18, 00:25, SECONDS FLASHING PAST.

SCIENTIST  
Like you ever said, this time we can bring back and bring  
forward weapons through bubble with dead cells covering.

NEVLIN  
Dead cells. You mean about my design 17, right?

SCIENTIST  
Yes. Via buck through bubble in this age, we can  
send back people with weapons and leather clothes.

NEVLIN  
By insert cell organization power into dead cells.

SCIENTIST  
You are right about that but it has flaws.  
We can also resurrect not-long-dead animals.

NEVLIN  
How is that so?

SCIENTIST  
Electromagnetic power increases the abilities  
to work to all cells. These also resurrect dead  
but it'll be so dangerous about mind-blowing.

NEVLIN  
What more?

The scientist leads Nevlin across the room to a touchscreen. The scientist slides the presentation slide show picture and everyone can see the structure of each bubble.

SCIENTIST  
It's not same where different when as before.  
If the time traveler don't have connection to  
each other, they'll appear in different where  
but still same time. Only one way I can explain  
more about it, this TDE also can't send MPA back  
through time like other previous versions.

NEVLIN  
What are you saying?

The scientist slides to another picture on screen. It's now about the structure of isomer 2 of Tb3N C84 metals bonding with Kalibaium (aka Adamantium)and other more kind of transition metals such as Cu, Ag, Au, V and others. It also has 3D structure of MPA cells.

NEVLIN  
How can it be possible?

The scientist touches a 3D button on top of slide show and it shows the simulation lines of blue, purple and red electromagnetic power, the red one can attack the molecule in simulation and all Tb, Cu, Ag and V metals secludes out and the whole molecule of MPA cell starts to lose its shape.

SCIENTIST  
This is the result, sir.

NEVLIN  
Terbium, copper, silver, vanadium metals will  
be pushed off and this will also kill the MPAT.

SCIENTIST  
Yes, Mr. If we send some hypnoses via it, they  
will bounce back and become our friends again.

NEVLIN  
But it's too late. We don't have much time  
and many people to capture some of hypnoses.

The scientist shuts down the slide show.

SCIENTIST  
So the point is to change the timeline.

NEVLIN  
Yes. That can end it more easily.

SCIENTIST  
But everything we did will be lost.

NEVLIN  
It's not your decision to make, Dr. Please do  
everything after the plan. Transport all these  
up to our new base for safety. Our mission is now  
only to leave this timeline behind and create new.

The scientist sighs but agrees.

SCIENTIST  
Okay, sir. Do after plan.

Nevlin gives him a smile and walks off. The scientist walks to join the PHYSICIST near the platform.

SCIENTIST  
(softly)  
We need to transport all these.

FADE TO BLACK:

Stay black for a few seconds and...

With the sounds of massive explosions and plasma-blasts.

FADE IN:

EXT. BATTLEFIELD – NIGHT

Some humans hunkered down as plasma blasts hit around them.

SOLDIER #1  
We can't do this.

TEAM LEADER  
I don't think so, man.

The team leader draws his light saber and shows up, averts all plasma-blasts away from him, leading the team forward.

He cuts the arms of a T-ZM5 and his team blows off its head. They head to the north directly at the big hole facility.

INT. ROBOTIC ROOM – NIGHT

HELMET BEAMS play over BANKS OF ELECTRONICS and-

-a dozen fixed, INDUSTRIAL ROBOTS- not remotely HUMANOID-engaged in mysterious tasks, mechanical arms at work.

THE SOLDIERS, Christie, Camera and Barnes rake the room with PLASMAFIRE- MACHINERY collapses, SPARKS from EXPLODING CIRCUITRY.

INT. CORRIDOR – NIGHT

Deeper into the complex, A HEAVY DOOR BLOWS off its hinges.

CAMERA CONNOR  
Clear. Let's go.

INT. COMMAND CENTER – NIGHT

It's like in the Arizona and Portland work camp. But this command center has updated technologies. There are four T-888 endos and the T-2000 working here.

A T-ZM4 endo enters the room and heads toward the T-2000.

T-ZM4  
Sir, they've fallen into hole.

T-2000  
So be it. Blow them all.

T-ZM4  
Yes, sir.

The T-ZM4 walks off.

INT. STORAGE ROOM - NIGHT

Camera Connor speaks into her headset. The OTHER SOLDIERS inspect the many CYLINDERS, react in horror and shock.

CAMERA CONNOR  
You will not believe the shit we found down here-

As she speaks, CAMERA FINDS a GREEN LED on the ceiling- which suddenly FLASHES RED and BLINKS RAPIDLY-

EXT. FACILITY – NIGHT

WIDE - AN IMMENSE SUBTERRANEAN BLAST causes a few hundred yards square to SWELL and then COLLAPSE.

JETS of FLAME, SMOKE and DIRT RISE in the aftermath.

INT. OFFICE – NIGHT

The procession stops at the central hub of the base. The walls have been breached by weapons and nature, but there is access to all the halls.

MAGGIE MOON is there as is NEVLIN GLAU. The officers wear relatively little-worn uniforms.

Stefan Jr.'s a bit pissed.

MAGGIE MOON  
Stefan!

STEFAN JR.  
Everyone up there is dead.

NEVLIN  
War always has many dead people. We don't know  
about it before. But if you don't want so many  
die like that again, there is only one way.

STEFAN JR.  
TDE? No, we can't.

NEVLIN  
You can now. It's ready. We are regrouping  
to guard around the base. Only this way can.

Nevlin takes a step forward and touches Stefan Jr's shoulder.

NEVLIN  
We don't have much time for thinking.  
I know what you are feeling like but  
we have to do it anyway. Inevitability.

Stefan Jr's tears are streaming down.

STEFAN JR.  
(crying)  
What can I say?

NEVLIN  
What say?

STEFAN JR.  
(crying)  
What can I say to the Connors? To grands?  
To my aunts? What can I say? What can I  
say that I left their heirs die out there?

Nevlin gets closer and slowly pulls him into his embrace.

NEVLIN  
I understand what you mean, what you feel.  
But it's now only one way to blast all it.

Stefan Jr. hugs him firmly. Maggie Moon steps closer them.

STEFAN JR. (cont'd)  
I'm sorry. So sorry.

NEVLIN  
I know. I know.

WE SLOWLY ZOOM OUT as they still hug. Maggie Moon's look is now full with sympathy.

FADE TO:

INT. HALL - ALLISON'S HOUSE – AFTERNOON

2030 again; In the doorway, Allison now is holding Orwell on her arms and carrying a backpack. Sittipong stands near Allison's legs. Marcus and Sarah are standing beside her, also with backpacks on their shoulders. Kyle, Cameron and E. Boykins join them with big baggage.

E. BOYKINS  
We're ready.

Allison looks around, she doesn't find John.

ALLISON  
Where is John?

CAMERON  
(to Allison)  
He's in his room. Prepare his beloved weapons.

Sarah looks a bit confused.

SARAH  
Weapons? Why?

CAMERON  
He said that we can't be sure that we'll be safe  
out there. So he should prepare for our safety.

SARAH  
No. Just touring. We're not gonna hurt anyone.

Everyone except Kyle looks at Sarah and...

EVERYONE (except Kyle)  
No One Is Ever Safe.

Sarah is now in the spot light of the family. She just laughs after all.

SARAH  
Okay. You all win.

INT. PF E. BOYKINS' ROOM – AFTERNOON

The room same size John's bedroom is. There are a big bed, a wardrobe, a door that connects to a built–in bathroom, a desk, and a personal computer with some devices for LAN connection, on that desk. And also a laptop on a bed near PF E. BOYKINS who is sitting on the bed with John Connor nearby. John always gets attention at what he is doing.

TIGHT ON PF E. BOYKINS' HANDS as they make the last few strokes with a hacksaw to sever the wooden stock from the riot gun. It clatters to the ground, leaving a short stump, like a pistol grip.

CUT WIDER AGAIN as PF E. Boykins hefts the weapon.

John stands, glances at the gun.

PF E. BOYKINS  
Okay, it's ready. I liked doing this with  
your father. Sergeant Kyle Reese I know.

PF E. Boykins hands John the weapon.

JOHN  
Thank you.

PF E. BOYKINS  
Your father was a good soldier.

JOHN  
Yeah. He's always a hero.

PF E. BOYKINS  
Good luck, Connor.

JOHN  
Are you sure you don't wanna go with us?

He nods as yes.

JOHN  
Okay. Bye.

John carries up his backpack and his laptop. John gives him a friendly smile and leaves him.

FADE TO:

EXT. DESERT - NIGHT

2080 again; A light illuminating the valley beyond. As we move closer, we see the glow comes from-

A MASSIVE HUMAN BASE

Now set up around the crater- vehicles, trailers, barricades. Armed GUARDS man a gate in the razor wire fence that runs fifty yards from the crater's edge, enclosing the complex.

Clear, plastic access tubes with junction boxes lead to a translucent cube structure erected in the middle of the crater. Through the glass walls of the base's command trailer, we see CONNOR HEIR directing TECHNICIANS, busy at work.

Within the cube structure itself, a team of SCIENTISTS work with high-tech machinery, analyzing the chamber of new version TDE.

INT. BASE – NIGHT

Nevlin with Stefan Jr. and Maggie Moon walk through the passageway toward the platform. Stefan Jr. and Maggie Moon wear buck and Maggie hold a small fell bag.

NEVLIN  
We already upgraded it. Only few hundred people  
survive now. We don't have another choice. Only  
you both can do it right.

STEFAN JR.  
What about you, uncle?

NEVLIN  
It's my honor to fight against enemies with last  
group of humans and good machines. My honor to be  
the friend of the chronicles.

They stop. Stefan Jr. looks at Nevlin. His look shows sadness. His heartbeat goes faster. He doesn't want to leave this cyborg but he has to.

STEFAN JR.  
You can go through. I know.

NEVLIN  
I'm but an old model cyborg. I'm but a reprogrammed.  
I can't be trusted. I can't help you anymore.

Stefan Jr. and Nevlin lock eyes. Like they're family. Stefan Jr. has his tears streaming through his cheeks. They are more than friends, but the uncle and the nephew.

STEFAN JR.  
Then who will read me bedtime stories?

Nevlin smiles, reaches toward Stefan Jr's face. His metal finger touches the tear trickling down his cheek.

NEVLIN  
I'm sorry. I know now why human life is so important,  
why only one man can be so important to the others,  
why we have to fight for one man. And I know why you  
all have tried to teach me about human lives.

STEFAN JR.  
Oh! My uncle.

Stefan Jr. quickly gets into Nevlin's hug, feels uncle-being behind this cyborg. Maggie Moon just looks at them, being proud. Nevlin hugs back slowly and warmly.

NEVLIN  
You're like your sister. I'm sorry for what  
happened. I really couldn't protect her when  
the T-2000 arrived on our Earth.

STEFAN JR.  
I'll miss you, Nevlin.

NEVLIN  
I will too.

They separate.

STEFAN JR.  
Okay. Good bye, uncle.

NEVLIN  
Good bye.

INT. NEW TDE CHAMBER – NIGHT

With the sounds of thunder, the rain starts out of the base. Humans and cyborgs are surrounding the chamber. Four are at controls, working with 4D calculation workshop. Nevlin is standing and watching with worry. Stefan Jr. and Maggie Moon get onto the chamber.

And then sirens blare. Stefan Jr. and Maggie turn around. Everyone here looks frightened.

STEFAN JR.  
(to Nevlin)  
What's wrong, Nevlin?

FOCUS ON NEVLIN as he looks to the passageway.

NEVLIN  
They're coming.

EXT. BASE – NIGHT

2080 again; The war starts for the rest of tomorrow. Powerful plasma-blasts, laser weapons, light sabers and cannons blast everywhere. Human troops are less than the enemies who are humans but only their minds aren't humans. This hell night happens to buy the time for the humanity saviors.

INT. NEW TDE CHAMBER – NIGHT

2080 again. With sirens blaring, there is no time for Stefan Jr. and Maggie Moon to help their friends as the new style energy bubble surrounding them.

Nevlin is trying to protect them. They can just watch what the hell night is happening. Around the chamber is some kind of laser or plasma shield which is protecting them from every shots.

Nevlin jumps toward a zombie human and kills him by his fist. The body falls on the ground with high tech plasma rifle. Nevlin grabs the rifle as the METAL PARASITE pieces through the head of that zombie guy and flies up toward his head...but he grasps it in his fist, throws it into the air and blasts it.

STEFAN JR.  
I can't leave you alone, uncle.

Nevlin kicks two of four men away and turns to look at Stefan Jr.

NEVLIN  
You are the hope. Good bye, Stefan.

STEFAN JR.  
No, uncle.

The light bubble becomes a beautiful chrome covering both Maggie and Stefan Jr. Blue, purple, violet and cyan lightning sphere is shaped rapidly. Stefan Jr. and Maggie Moon seem to be very sad as they see many people die around them.

Their eyes roll and see...

THE T-2000 walks in the room, meet Nevlin.

NEVLIN  
You son of a bitch!

Nevlin blats his rifle at that man but he can recover the mimetic poly alloy skin in a few seconds after blasting. Nevlin rushes to kick that T-2000 ten meters away toward the big generator.

Nevlin turns back.

NEVLIN  
Don't worry about me. We'll see.

Nevlin reaches in his jacket, grabs a soap...what?...no...not just a soap but some kind of bomb or something.

Stefan Jr. is about to step off the chamber but Maggie seizes his arm, stops him.

STEFAN JR.  
No. Nitroglycerine.

Nevlin smiles happily, picks out a knife, stabs the soap and throws it down on floor.

NEVLIN  
Hasta la vista, baby.

The high tech time bubble dances about then the light explodes, Maggie and Stefan Jr. disappear and the whole scene becomes white with the light.

EXT. DESERT – NIGHT

From the point away from the base, we can see the base EXPLODE and the semicircular explosion expands territory of about 1 km diameter. The light slowly swells, goes wide and covers all armies around here. Then the explosion expands its territory to be bigger than every nuclear explosion.

HIGH ANGLE, revealing the area of desert near Palmdale. The explosion expands at the point it can't go wider. Then it explodes again with the blue barrier light which destroys everything including the area of the base.

The light of the explosion withdraws and reveals the result of the large explosion, it's like the large meteoritic hole. No one survives and nothing is around here. No body count. The T-2000 may be dead.

**END OF ACT 3**

* * *

**ACT 4**

**(Upgraded time traveling)**

INT. THAI FOOD RESTAURANT – AFTERNOON

The CHEF(Thai, 48, 5'4") loads plates of Thai food up on the warmer, where a WAITRESS picks them up and delivers them to Dr. Art-ong Jumsai Na Ayudhaya.

Dr. Art-ong digs into his papaya salad and slowly starts eating it with a fork. He chews papaya and tastes it for awhile. He nods satisfyingly.

Then he moves his other hand for sticky rice on a plate, molds a small piece of it and dips it with papaya salad then eats it. He nods again. He seems to please it.

Another male comes and sits opposite side of him. That male is another form of John Henry.

JOHN HENRY  
Sorry. I don't want anyone see me out here.  
I'm like a superstar of country. How are they?

Dr. Art-ong looks up and smiles happily.

DR. ART-ONG  
So good. I always love Thai food even when I came  
to this country for the first time. This kitchen  
is better than every kitchen I ever entered in  
this land. It's like a Thai is making all these.

Dr. Art-ong continues his papaya salad. Then his roasted chicken. And then his sticky rice.

JOHN HENRY  
We all ever learned about this from a Thai.

DR. ART-ONG  
Hmm! This chicken is very good.

JOHN HENRY  
That chicken had their parents from Thailand.  
Asian resistance base is the second for our  
biggest food sources. The first is in Perth.

Dr. Art-ong wipes cleaning his lips with a table napkin.

DR. ART-ONG  
Hmm! I think I really wanna know who that Thai is.

JOHN HENRY  
You know General Anongsak Pichitchai?

DR. ART-ONG  
Pichitchai? No. Never heard this name before.

JOHN HENRY  
He'd been not famous before J-Day. But he raised  
the Asian resistance group. He grouped almost all  
Asians together and built the glass dome covering  
Bangkok before the great flood from land movement,  
causing some water from the sea getting onto lands.

DR. ART-ONG  
I know that we Thais already protected that by dam.

JOHN HENRY  
According to what his son told me, Skynet destroyed  
the dam during J-Day. They had to think to protect  
smaller area to keep it safer and easier to manage.

DR. ART-ONG  
Not stupid at all.

JOHN HENRY  
However, a psychic planned that.

But Dr. Art-ong doesn't interest, he continues his papaya salad.

INT. ZEIRA ENTRY WAY – AFTERNOON

Sarah Reese, Kyle Reese, John Connor, Cameron Connor, Allison Pichitchai(with sleeping Orwell), E. Boykins (on wheelchair with Sittipong), Nevlin Glau and Marcus Young get in through weapon detectors with their bags, backpacks and baggage easily.

They go to meet MATT MURCH and SEMINA MURCH near the elevators.

MURCH/SEMINA  
Good afternoon.

They all respond with "GOOD AFTERNOON".

E. BOYKINS  
Where is Weaver? She said that they've already come.

MURCH  
She is with John Henry and few more persons.  
Waiting for you in her room. Her office as  
before. You know the way?

E. BOYKINS  
(with a smile)  
Thank you, Mr. Murch.

E. Boykins leads Sarah Reese, Kyle Reese, Allison Pichitchai(with sleeping Orwell), Nevlin Glau and Marcus Young to the elevator. John and Cameron Connor still stand in front of Murch and Semina.

CAMERON  
Long time no see, Chola.

SEMINA  
Long time no see. Okay, Cam. Have a nice trip.  
I hope that Thailand will be very good to you.

CAMERON  
Bye.

Cameron walks to join the group. John only smiles to Semina who smiles back and...

SEMINA  
Have a nice trip, John.

John smiles again and leaves them, joins the group as the elevator comes. They get in and the door closes.

Semina looks back at Murch. She shrugs.

SEMINA  
They look better.

MURCH  
I think you forget something.

SEMINA  
What?

Murch doesn't answer yet but Semina can realize it within a few seconds.

SEMINA  
Oh! That baby. Allison's new daughter.

MURCH  
Yes. But don't worry, we'll know her when  
they come back. Hopefully, they'll be back.

SEMINA  
And where will we go now?

MURCH  
We got new project to manage.

SEMINA  
Let's go.

Semina reaches her hand. Murch takes it without oscillation. And they walk together.

INT. CATHERINE WEAVER'S OFFICE – AFTERNOON

CATHERINE WEAVER and JOHN HENRY are sitting at a coffee table. LUCY ANN is standing near John Henry's side.

JOHN HENRY  
What do you mean? Why do we have to go there?

WEAVER  
I don't know but he told me that we should.

LUCY ANN  
Exactly, we should. It's Micky's death.  
If we don't, what will happen to foreign  
affairs between us.

WEAVER  
Humans are very touchy.

LUCY ANN  
So are we. If we weren't, why are you here?  
Why are you here in this timeline, Catherine?

JOHN HENRY  
So will we go?

WEAVER  
I think I will.

LUCY ANN  
So we trio go.

A phone rings, Lucy turns on intercom.

LUCY ANN  
Yes?

ZEIRA SECURITY GUARD (O.S.)  
Ma'am, a man named Dr. Art-ong Jumsai Na Ayudhaya  
is here, requesting a meeting with you in there.

LUCY ANN  
Let him in, guard.

KNOCK on the door.

WEAVER  
Come on in!

Dr. Art-ong enters with his baggage.

DR. ART-ONG  
I'm ready to go. Where is the family you said?

WEAVER  
They're coming, doctor.

INT. OUTSIDE OF CATHERINE WEAVER'S OFFICE – AFTERNOON

E. Boykins, Allison, John, Cameron, Sarah and Kyle leave Nevlin, Sittipong, Marcus and Orwell in front of the elevator, walk through the passageway and meet with the T-600 guard who militarily salute at them.

ZEIRA SECURITY GUARD  
Afternoon, sir.

E. BOYKINS  
Catherine's here?

ZEIRA SECURITY GUARD  
Yes, sir. She is waiting for all of you.

E. BOYKINS  
So let us in.

INT. CATHERINE WEAVER'S OFFICE – AFTERNOON

The door opens and the family enters the room, meeting Weaver, John Henry, Lucy Ann and Dr. Art-ong. Dr. Art-ong looks a bit surprised after he's seen E. Boykins.

E. BOYKINS  
Afternoon, Cath.

WEAVER  
(re: Dr. Art-ong)  
Stefan, this is...

E. BOYKINS  
Dr. Art-ong Jumsai Na Ayudhaya.

E. Boykins steps toward and pays respect to Dr. Art-ong and...

E. BOYKINS (cont'd)  
"Good Afternoon, Dr. I'm very proud to see you here  
at this time. I always paid attention to all about  
your production including the landing on Mars."

DR. ART-ONG  
"I also have heard many things about you. The son  
of General Anongsak. You were so genius to lead."

E. BOYKINS  
"I know many things from your mind, doctor. So that's  
why I could confirm you. But I still don't understand  
why Skynet kept you and some scientists alive."

DR. ART-ONG  
"I don't know anything but there is a guy told me that  
they would let some scientists alive with the great  
reason which would change the world. They said that  
before they kidnapped me on December 20, 2012."

ALLISON  
"One day before J-Day."

E. Boykins and Dr. Art-ong look at Allison who joins their conversation. E. Boykins introduces Allison:

E. BOYKINS  
"Oh! Dr. Art-ong, this is my wife, Allison."

E. Boykins immediately wraps his arm around her waist.

DR. ART-ONG  
(to Allison)  
"Your Thai is as good as machines, ma'am."

ALLISON  
"Thank you, doctor."

John Henry, Lucy Ann and Weaver have their business with the Connors and the Reeses, so they invite them to leave from here and go to another smaller office.

ALLISON  
"So let's continue what you said, doctor."

WE CUT TO THE CONNORS AND THE REESES as Allison and E. Boykins continue their conversation with Dr. Art-ong out there.

John Henry touches on the glass which shows the picture of the HTMS in dock.

JOHN HENRY  
The ship will be out in a few hours. So I need to  
ask all of you that you don't forget anything at  
home because we can't really go back here.

JOHN  
We know that by now.

LUCY ANN  
I ever planned a lot about this. Traveling in  
Thailand isn't too bad. Their country has been  
being upgraded to be very very perfect.

CAMERON  
So why do we have to hurry up for the ship?

LUCY ANN  
Micky's dead.

That really gets everybody's attention.

KYLE  
What? How could it be possible?

LUCY ANN  
Cancer.

CAMERON  
Cancer? She looked healthy. Why?

LUCY ANN  
We also have many people die by cancer. And it's always  
happened at around colons and rectums of immigrants.

CAMERON  
Maybe they have eaten too many rats during our war  
against Skynet. However, there is still much toxins  
inside each part of rat under tunnel.

Lucy Ann touches and slides the picture on the glass to another picture, it's an endoscopic image of colon cancer identified in sigmoid colon on screening colonoscopy in the setting of Crohn's disease.

LUCY ANN  
The pathology of the tumor is usually reported from  
the analysis of tissue taken from a biopsy or surgery.  
A pathology report will usually contain a description  
of cell type and grade. The most common colon cancer cell  
type is adenocarcinoma which accounts for 78% of cases.

JOHN HENRY  
Other, rarer types include lymphoma and squamous cell  
carcinoma. Dr. Felicia told us that it was not only  
from rats eating during war but it could happen when  
people were afraid of machines. They usually made many  
mistake things with their alimentation. So at this age,  
colorectal cancer can happen with so many people.

CAMERON  
I think they need real foods.

LUCY ANN  
But we don't have many workers for agriculture.

SARAH  
I think I has an idea.

Everybody looks at Sarah. Then, as Sarah starts to say something,...

DISSOLVE TO:

EXT. PORT OF LOS ANGELES – EVENING

Next to the Jimmy Carter, KYLE REESE, and E. BOYKINS joins up with JESSE FLORES with KITTY FLORES, CAPTAIN QUEEG(S02E18), CAPTAIN TRIPOOM(F04E08), CAPTAIN SUWAN(F04E08) COL. WANG PICHAO, COL. HIKARU CHINTAI, COL. KIM YOUNGCHUN, COL. BABASAHEP ENVA INBEDGA, LT. GEN. JENNIFER and a few convenient SOLDIERS and SAILORS. Nearby the Jimmy Carter are the Sea Shadow aka "ARFS Hai Kage Ninja" and the HTMS Phutthaloetla Naphalai.

E. BOYKINS  
So we can do it from now on, right?

JESSE  
Yes. Stefan. I have the new way to transport objects  
from the cargo faster. Not just by our machines.

WE PULL OUT, revealing E. Boykins' and John's family members are watching from the distance. They continue their business as the big family turns away to see John Henry, Weaver and Nevlin Glau who comes with bags, backpacks and baggage. Dr. Art-ong follow them and his glance is at the ship not too far away from him.

DR. ART-ONG  
"Wow! Is it real? That's His Majesty's Ship."

JOHN HENRY  
Yes, doctor. It's from Thailand.

Then they start talking again but we can't hear it, we can hear only the voice over...

NEVLIN GLAU (V.O.)  
For me, today is like the best time.  
They are all happy. The machines and  
humans love each other. We join each  
and it's my Utopia.

C.U. NEVLIN GLAU as he slowly smiles and tears happily.

NEVLIN GLAU (V.O.) (cont'd)  
Scientific and technological utopias are set in the  
future, when it is believed that advanced science  
and technology will allow utopian living standards;

SERIES OF SHOTS

1) E. Boykins and Jesse talking seriously about their business. Yes, we can't hear that.

NEVLIN GLAU (V.O.) (cont'd)  
Technology has affected the way humans have lived  
to such an extent that normal functions, like sleep,

2) T-950 endos managing crates around the cargo of the HTMS.

NEVLIN GLAU (V.O.) (cont'd)  
...eating or even reproduction, have been replaced  
by artificial means. In place of the static...

3) John Henry and Lucy Ann kissing as the rest going to join the group of sailors.

NEVLIN GLAU (V.O.) (cont'd)  
...perfection of a utopia, libertarian transhumanists  
envision an "extropia", an open, evolving society...

4) Allison with her children, one hand holding Orwell as another playing with Sittipong.

NEVLIN GLAU (V.O.) (cont'd)  
...allowing individuals and voluntary groupings to  
form the institutions and social forms they prefer.

5) All travelers waving hands to the people.

NEVLIN GLAU (V.O.) (cont'd)  
Buckminster Fuller presented a theoretical basis for  
technological utopianism and set out to develop a variety  
of technologies ranging from maps to designs for...

6) The high tech time bubble dances about then the light explodes, Maggie and Stefan Jr. disappear and the whole scene becomes white with the light.

NEVLIN GLAU (V.O.) (cont'd)  
...cars and houses which might lead to the development  
of such a utopia. Those are all not my kind of utopia.

7) The super explosion in the year 2080.

NEVLIN GLAU (V.O.) (cont'd)  
My Utopia is only peace. But everyone knows that  
the moment of Utopia is very very short.

END SERIES OF SCENES

THE SCREEN WHITE OUT and...

EXT. DESERT – MORNING

The smooth ground has nothing, not even one piece of MPA mass. But in the sky, we see an air ship flying low and slowly descends on the land.

A man gets out of the ship with two other men. They're T-KAPLAN, T-WANG PICHAO and JUPITER GODON. They look around.

T-WANG  
Interesting.

JUPITER  
Thanks to you, Mr. Wang. It's like you think.

T-KAPLAN  
What's the last words?

JUPITER  
There are two of them have traveled back through time.  
Can you create me a time displacement equipment?

T-KAPLAN  
You know we can.

JUPITER smiles as the METAL PARASITES pierce through the heads of the two TOKs and join the main mass of Jupiter at the back of his head. The eyes glow red. Looks powerful.

JUPITER (cont'd)  
Thank you for your information.

Jupiter walks off.

We focus on those TOKs and see that their chips were destroyed.

INT. DECK OF HTMS PHUTTALOETLA NAPHALAI – EVENING

Cameron is standing on the deck, alone there, looking the view of Pacific Ocean and the view of this HTMS.

John gets onto the deck and slowly walks toward her.

JOHN  
What are you doing here?

CAMERON  
What is it like, John? I don't know but  
it's very weird. I feel like my heartbeat  
is being up as well but also feel a bit sad  
like something isn't right around here.

JOHN  
Homesickness.

CAMERON  
I think so.

John slowly and gently holds her waists, resting his head on her shoulder and also kissing her cheek.

JOHN  
It's exactly easy to manage.

CAMERON  
How?

JOHN  
Try to do many interesting things.  
For example; playing games or maybe...

John stops what he wants to say. But Cameron says it.

CAMERON  
Having sex.

JOHN  
Yes. That too.

And after all, Cameron turns, places her lips on his and gives him a gentle control of the kiss. They separate.

CAMERON  
Yeah. I think it's the best way.

And as they're leaning to kiss again, we slowly zoom out and dissolve to:

EXT. AN ABARDONED BANGKOK WAREHOUSE – NIGHT

This is just a warehouse near or maybe in the territory of Bangkok, Thailand. All places around here are mossy, only in the city of Bangkok aren't. No flood anymore in this land.

INT. AN ABANDONED BANGKOK WAREHOUSE – NIGHT

In this homeless mossy refuge, a mysterious ball of lightning manifest itself in the form of a large sphere. With a sizzling crackle, the large ball begins to bulge and a giant mass of flesh and metal pierces the Lightening-Egg. As the monstrous form tears itself out of the Space/Time Continuum Shell, the lightning suddenly stops. In the darkness, we see and hear the shape stretch and scream.

Around a barrel campfire some Thai homeless men and women living off the warmth of a barrel campfire can't help but notice this incredible display.

Suddenly, the giant metal egg before them cracks and smaller shapes tear away from a large, undulating mass that pours out the inside. The shapes crawl and collect themselves, standing and assembling themselves, so to speak. A flashlight focuses on the strange goings on. A DRIFTER wrapped in dirty rags and sheets sees two shapes, lying down on the floor.

A DRIFTER comes closer and sees...

...STEFAN JR. and MAGGIE MOON who are still wearing clothes and their bags are at their hands. This time travel isn't like as before but it looks commonly upgraded. Dead cells can also come through bubble. And we'll see only this time traveling which also allow leather clothes come through.

The DRIFTER goes over and touches Maggie Moon.

Suddenly, Maggie Moon opens her eyes, grabs the DRIFTER'S HANDS, kicks him away against the wall together with jumps to stand up in martial art. At that time, the DRIFTER collides with nails, his head, shoulders and chest are stabbed. He's dead.

MAGGIE MOON  
Oh! No. I'm sorry. I don't wanna...

But other men and women come with weapons such as shotguns, pistols, knives and clubs.

MAN #1  
You killed him.

MAGGIE MOON  
No. Please don't.

MAN #1  
Kill her now, everybody.

They open fire. But all bullets stop immediately in front of her. Everyone looks stunned.

STEFAN JR. (O.S.)  
No one can.

Maggie Moon turns back to see Stefan Jr. rising. He smiles and walks to join her.

STEFAN JR.  
Sorry. But she really didn't wanna kill him.  
It's an accident. You all should understand.

MAN #1  
He's dead. No one can bring him back.

STEFAN JR.  
I know. So that's why I'm really sorry about it.  
Life is valuable too. But we can't bring him back  
anyway. I'm not the God. Not any of those.

MAN #1  
It won't end easily. I will kill you both.

Stefan Jr. slowly rises his hand to do fingers-to-temple gesture.

STEFAN JR.  
So be it.

C.U. STEFAN JR. as he smiles.

FADE OUT.

**END OF ACT 4**

**THE END**


	6. EP06 : Grandfather paradox

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**Terminator:  
The Across Time Chronicles**

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**F05E06**

"**Grandfather Paradox"**

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**Written by  
Stefan1994**

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This document is fan-produced fiction based on the television series, Terminator - The Sarah Connor Chronicles, and a fan-made season of fan fiction, F03 and F04 Terminator - The Resistance Fighters Chronicles, written by Stefan1994, eyeshieldTe and Mario28. This is done in spirit of fan fiction, to have fun and enrich the total fan experience beyond the limitation of the original story vehicle. In that spirit, and holding to the long tradition of free promotion. This story is being made available to the show fans for entertainment purposes.

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* * *

**TEASER**

SUPERIMPOSE: "PREECHA'S STORY"

STILL IN BLACK;

MICKY SARKISSIAN (V.O.)  
Oh! My love. This time I really wanna die. Please  
take care of everyone I love for me. Don't use  
your equipment to change my death because it'll  
change every right thing. I know how much you love  
me but please everything just happens in the name  
of nature and everything has to happen in the truth  
of life. Not even in another grandfather paradox.

FADE IN:

EXT. CREMATORIUM – EVENING

INSERT NOTE: All in the voice over are what written in this note and it continues with more:

MICKY SARKISSIAN (V.O.) (cont'd)  
Sorry for not telling you about my cancer.  
It can't be cure anymore. Too late. I've  
chosen to live with you happily before I  
would die. Please be alive with Michael.  
Only him and you I love. Bye- Micky.

THE HAND KNEADS IT as well as tears flow onto ground below.

FULL SHOT revealing the crematorium where is for Micky Sarkissian but it now is burning a corpse. Smoke rises up to the air. Dust to dust. Ashes to ashes. We realize that we are in a Buddhism temple and this place is in Bangkok, Thailand.

PREECHA SINGHMAK discards the note onto the ground near E. BOYKINS(on wheelchair), ALLISON PICHITCHAI(with Orwell), CAMERON CONNOR, JOHN CONNOR, MARCUS YOUNG(with Sittipong), NEVLIN GLAU(with MICHAEL, son of Preecha who is now mother-orphaned), SARAH REESE and KYLE REESE. They all are far away, looking at the crematorium.

PREECHA  
(sadly)  
I'm sorry, Mick.

Preecha looks very sad as he cries. He drops to his knees but his eyes still look to the smoke.

E. Boykins pumps forward and puts a hand on his shoulder.

E. BOYKINS  
(in Thai)  
"She is gone. You have to live with it.  
I'm sorry, my friend. I know how it's  
like to feel sad when love is gone."

PREECHA  
"Why don't you tell me that she had cancer?  
I know that you already knew about that."

E. BOYKINS  
"I really don't know. I didn't notice anything."

With that, Preecha quickly rises and grabs E. Boykins' collars, lifts him up with non-human force.

PREECHA  
(angrily)  
"You don't know what happened to her.  
Guy like you didn't know that. How can  
you tell me like that, my friend?"

Preecha notices that Allison is about to help but Cameron grabs her hand, shaking head as "Please don't, they can manage it". But he doesn't care anything.

PREECHA'S POV.: looking at only E. Boykins.

PREECHA (cont'd)  
"Talk to me, Stefan."

E. BOYKINS  
"Punch me if you really want that. I'm sorry  
for that. Please, kill me if you want."

ALLISON (O.S.)  
"No, please Pond."

Preecha's POV turns to see Allison who steps toward him with her daughter on her arms.

ALLISON (cont'd)  
"You have to kill me too. Micky didn't want anyone  
to know about her cancer. Nevlin already told us  
about that but we had to keep this secret from  
you and every soldier for her. So it's also my  
fault for not telling you."

Preecha's POV turns back and lets E. Boykins go. E. Boykins is breathing hard, trying to get as much oxygen as he can.

Preecha's POV omits E. Boykins, flashing turn to look at Allison. But Preecha really can't kill Allison after he has seen Orwell's eyes. They're really like when Micky looked at him.

FLASH ON:

PREECHA'S POV.: Micky Sarkissian smiles to him during their first time sexual intercourse.

BACK TO PRESENT

Out of Preecha's POV, Preecha lowers his hand and drops to his knees. His tears are streaming down. His friends are all looking at him with sympathy.

EXT. TEMPLE – MORNING

We see people are standing in front of the wall. There is Micky Sarkissian's relinquary there. The people- E. Boykins, Allison, Preecha and their friends are mourning over Micky's death, all look sad.

PREECHA'S POV.: The picture on the wall is the one that means a lot to Preecha. She is there and still beautiful for him.

FLASH ON:

Preecha turns to Micky and looks at her. She looks at him up and down and then she looks in his eyes. What the hell is this? This guy is human. Micky seems a lot surprised. Her mind overloads as the reality of it hits her.

FLASH ON:

Deeper in his memories, Preecha is crying and our camera is zooming in his face. We're gonna feel his real feelings.

FLASH ON:

Preecha and Micky both already stripped off all their clothes. They just kiss passionately on the ground in the forest. No machines. No mutant animals. Just oomph...atmosphere in the night. Just them in the forest like main characters making love in some Thai belles-letters. The skins of theirs are hot, overheating in the cool forest at night.

FLASH ON:

He strokes her hair as he slides in and out of her with the power of his. A sharp cry escapes her lips when he does so. His breathing becomes heavy as he slides himself in and out of her harder and faster.

BACK TO PRESENT

Preecha puts down the beautiful bouquet in front of her relinquary. And looks down, crying hard like he lost everything in his world.

PREECHA  
I'm sorry. If I cared you more than that,  
you wouldn't die, you wouldn't leave me.

Preecha's POV stares at her picture with tears nearby as Preecha slowly reaches out his hand and touches her picture. It's the last picture of her he can touch.

Preecha's POV turns back and looks at E. Boykins who touches his shoulder, also crying there.

E. BOYKINS  
"I'm sorry."

Preecha pauses, inhales and exhales, relaxing from everything and facing his friend. He smiles friendly as his tears are still flowing from his eyes.

PREECHA  
"Never mind. I understand you, Stefan."

E. Boykins smiles back.

E. BOYKINS  
"We won't be your burden. I can take it easily.  
But can you tell me about your project? I just  
wanna know more about it."

Preecha thinks about it, wiping his tears.

PREECHA  
"Okay. But after I take everybody here into our  
big Bangkok tour program today. Thank you for  
your moral support. Definitely, I can remember  
her forever but I just have to live with present.  
I still have my child. Commiseration isn't good  
for my son. I'll be both his father and mother.  
I'll try to be as much as I can."

PREECHA'S POV.: E. Boykins touches his shoulder and smiles more happily in front.

E. BOYKINS (cont'd)  
"And this is really my friend. Micky would  
be very very happy if she could see this."

Preecha looks to everybody else. All tears are gone.

PREECHA  
Anybody aren't ready for this tour?

Everyone is happy to see Preecha like this. They all smile and...

ALLISON  
We all are ready, Pond. We just want you  
to be okay today. Let's go. We won't make  
you more problems today. We promise.

C.U. PREECHA'S FACE as he smiles proudly.

CUT TO BLACK:

SUPERIMPOSE: "ALLISON'S STORY"

PREECHA (O.S.)  
"Why don't you tell me that she had cancer?  
I know that you already knew about that."

E. BOYKINS (O.S.)  
"I really don't know. I didn't notice anything."

FADE IN:

EXT. CREMATORIUM – EVENING

With that, Preecha quickly rises and grabs E. Boykins' collars, lifts him up with non-human force.

ALLISON'S POV.: as she steps forward but something grabs her hand, so she turns and sees Cameron shake head as "Please don't, they can manage it".

Preecha looks at E. Boykins for awhile and lets him go.

PREECHA (cont'd)  
"Talk to me, Stefan."

E. BOYKINS  
"Punch me if you really want that. I'm sorry  
for that. Please, kill me if you want."

ALLISON  
"No, please Pond."

Allison steps forward with her daughter.

ALLISON (cont'd)  
"You have to kill me too. Micky didn't want anyone  
to know about her cancer. Nevlin already told us  
about that but we had to keep this secret from  
you and every soldier for her. So it's also my  
fault for not telling you."

Preecha turns back and lets E. Boykins go. E. Boykins is breathing hard, trying to get as much oxygen as he can.

Preecha omits E. Boykins, flashing turn to look at Allison. But Preecha really can't kill Allison after all.

Preecha lowers his hand and drops to his knees. His tears are streaming down. His friends are all looking at him with sympathy.

Allison steps closer him, looking at him with sympathy.

ALLISON'S POV.: looks at E. Boykins who still looks at his friend. Allison goes to him.

ALLISON  
Are you okay?

E. Boykins turns and smiles to her.

E. BOYKINS  
I'm okay. We just have to find out how to  
soothe him. I know what you felt like when  
he was about to punch me with his anger but  
he's still my friend anyway.

C.U. ALLISON'S FACE as she smiles proudly.

EXT. TEMPLE – MORNING

We see people are standing in front of the wall. There is Micky Sarkissian's relinquary there. The people- E. Boykins, Allison, Preecha and their friends are mourning over Micky's death, all look sad.

ALLISON'S POV.: Preecha sees that E. Boykins touches his shoulder and smiles more happily in front.

E. BOYKINS (cont'd)  
"And this is really my friend. Micky would  
be very very happy if she could see this."

Preecha looks to everybody else. All tears are gone.

PREECHA  
Anybody aren't ready for this tour?

Everyone is happy to see Preecha like this. They all smile and...

ALLISON  
We all are ready, Pond. We just want you  
to be okay today. Let's go. We won't make  
you more problems today. We promise.

Preecha smiles proudly.

PREECHA  
Let's go, my friends.

Everybody looks very surprised with that.

Preecha leads them out of here. Everybody follows him as he starts saying:

PREECHA (O.S.)  
This place is Wat Mahathat Yuwaratrangsarit  
in Thanon Maha Rat, Phra Borom Maha Ratchawang,  
Phra Nakhon, Bangkok 10200, Thailand.

The tour continues through the temple garden but Allison sees that E. Boykins separates out of the group to see someone's picture on the grave wall.

ALLISON'S POV.: The group goes away but not much.

Allison relaxes and walks toward E. Boykins.

ALLISON  
Who are you looking at?

E. BOYKINS  
My cousin. Not a close cousin but my cousin.

Allison looks at the picture.

ALLISON'S POV.: He was the boy who died on J-Day. His eyes are a bit like E. Boykins' but his skin is darker and looks not much handsome boy like when E. Boykins was young. His look is more like Cambodian. His name was Li Monesa.

ALLISON  
This is who you ever told me many years ago?

E. BOYKINS  
Yes. This is another great grandchild of my great  
grandpa. His grandpa is my grandpa's uncle who had  
the best electromagnetic power. His mother was a  
Cambodian and his father was killed by Jack's men  
during the trace for the Pichitchais. His last name  
is from his mother.

ALLISON  
So this boy was a psychic like you.

E. BOYKINS  
And he was a hero. During the transportation of some  
chemicals from America to Psytech Corp and some other  
countries in middle Asia on children day, there is a  
group of men who wanted to harm the U.S. Cargo ship  
in Thailand with their referrible God's command. This  
boy was the one who stopped the bombs around Bangkok  
with all power he had. However, we tried to find him  
but the last time we found him was when he tried to  
save some Cambodians from one hundred T-500s.

ALLISON  
So he was killed.

E. BOYKINS  
Yes, my love. He's dead. No one is as brave as him.

Allison touches his shoulder. And he looks over his shoulder to her. She and Orwell smile.

ALLISON  
For me and your kids, no one is as brave as you.  
No one is better than you and no one is sharper  
than you. You are always our hero.

INT. E. BOYKINS' BEDROOM – NIGHT

The small room looks very like a hotel room but many things make it special. A personal computer on a desk with many devices for connection, and sound recognition. The same color and same shape bed like in Allison's house. The wood end table beside the bed with a wireless phone, a lamp and a clock on it. Dresser and rustic glass at the corner of the room. This is their old room.

Allison lies down beside E. Boykins. She looks very tired.

ALLISON (cont'd)  
Today is so fun.

E. BOYKINS  
Yes, I think so. He and she sleep?

ALLISON  
Next door, Stefan. With Glau and my dad.

ALLISON'S POV.: turns to him.

ALLISON  
Let's talk.

CUT TO BLACK:

SUPERIMPOSE: "E. BOYKINS' STORY"

FADE IN:

INT. E. BOYKINS' BEDROOM – NIGHT

Allison lies down beside E. Boykins. She looks very tired.

ALLISON (cont'd)  
Today was so fun. Preecha could separate his sadness  
out of his life well even he lost someone he loved.

E. BOYKINS  
Yes, I think so. He could because he lost more than  
everyone here and he had to be hero for his son. Oh!  
About son. Our kids, he and she sleep?

ALLISON  
Next door, Stefan. With Glau and my dad.

ALLISON'S POV.: turns to him.

ALLISON  
Let's talk.

CLOSE ON THEM as E. Boykins moves closer her with his hands.

E. BOYKINS  
About what?

E. BOYKINS' POV.: She turns and smiles and touches his face.

ALLISON  
About you and me. In here. This time.

E. Boykins subtly looks at her and smiles like he is gonna get something special tonight.

* * *

**ACT 1**

**(About you and me. In here. This time)**

INT. E. BOYKINS' BEDROOM – NIGHT

E. Boykins and Allison are kissing on the bed. Their breathing is so hard and her weight on top of him doesn't effect anything to him. They try their kiss as hard as they can and their love isn't even decreased every time. They leave their story behind and she is gonna be fun with licking and sucking his tongue. They taste each other's sweetness beneath their lips as well as their hands that slowly slide and caress around each other's body.

They break the kiss and still breathe fast.

ALLISON  
What's wrong, Stefan?

E. BOYKINS  
Are you sure you wanna do this?

ALLISON  
Stefan, my entrance is completely natural self-repaired.  
So please don't worry about it. Please do me favor. Kiss  
me and do things more than that.

Allison reaches out for a condom, she tries to hand him it.

ALLISON  
Sex is for enjoying love, Stefan.

E. Boykins takes it.

E. BOYKINS  
Okay. I'll try my telekinetic power to serve your  
sexual need as much as I can. But I don't think that  
it'll be much useful because I can move them but  
still really can't feel it anyway. Just one way.

ALLISON  
I know we can try.

With a sigh, Allison presses her forehead against his, her hand stroking his hair. Allison starts to kiss him first. Her fingers dug into his back as she attacks his lips with a passion that is almost bestial, his hands riding up her thighs, pushing her dress up and squeezing her tight buttocks. Allison wraps her legs around him as she breaks the kiss. They both pant, and she immediately starts to pull off his nightshirt. E. Boykins tosses it aside once it is off and returns the favor by undoing the knot that holds Allison's dress together at the back. She shrugs off the top of the dress, and E. Boykins bends down to suck at her nipples, eliciting sighs of pleasure. His hands slide up and down the smooth flesh of her legs, reaching a little farther up each time until his fingers snag her panties and pulls them down. Allison lifts her bottom a little and uncrosses her legs, allowing E. Boykins to push himself up and pull the panties off.

He runs his hands up the length of her legs, pressing them together. He kisses her ankles, then her calves, his mouth traveling lower and lower until it reaches her primary pleasure center. She squeaks and pants as he gives her the best oral in her life, his 20s years of experience working wonders on her younger pussy.

ALLISON  
(gasping)  
Wait...wait...I want to do it with you inside me.

E. BOYKINS  
Of course, my love. I'm gonna use the John-bag  
for our safe sex. I swear it won't be a quickie.

He rises and lets Allison unbuckle his belt and unzip his fly with impatient fingers. She pulls down his jeans and boxers, releasing Little E. Boykins from his cotton prison. Like his master, Little E. Boykins relishes the sense of freedom, as well as the sensation of Allison's hand sliding up and down his length. He and she kisses again, E. Boykins wearing John-bag as well as Allison edging a little closer to him so that the tip of his covered penis brushes her entrance.

E. BOYKINS  
Hmm! My knife is almost in the water.

She smirks, catching on.

E. BOYKINS  
I'll try as much as I can.

E. Boykins does the fingers-to-temple gesture and...

E. BOYKINS  
Okay. We're ready.

ALLISON  
(murmuring)  
Start it now!

E. Boykins leans on, his legs become controlled by his telekinetic power and he slowly enters her. For all his experience, the sensation is just as magnificent as ever, and he can't help groaning. Allison throws back her head, her eyes close and her mouth opens in a silent cry. E. Boykins runs his hand up her naked flesh, passing over her left breast and neck, and slides his index finger in her mouth as he slowly gains rhythm. Allison sucks on his finger, her half-lidded eyes sending him a look of pure lust. Mesmerized, E. Boykins tries hard to increase the tempo, and Allison bucks her hips in response.

ALLISON  
(panting)  
Harder if you can, please.

And E. Boykins obliges. His face has become flushed, and sweat is trickling down his brow, but he doesn't mind. It has been a while since he has exerted himself like that, and it feels great. It takes the nubile woman to really get him going, and though the effort is considerable. He tries to control his mind to control his legs even he really can't feel any pain or numb from them.

ALLISON  
(growling)  
Harder!

Her voice sent something like an electric shock through his body, his arousal spiking to unprecedented levels. He doubles his efforts, and soon enough Allison starts thrashing uncontrollably, knocking stuff off the bed, E. Boykins barely able to stay inside her. He curses loudly as he comes, too, an explosion of bliss so intense his body is barely able to contain it. Slowly, their convulsions subside, their breath returning to normal. Allison slumps back against the bed, and E. Boykins leans on her, resting his head on her shoulder.

ALLISON  
Wow! You are better than when you weren't cripple.

Allison absentmindedly strokes his hair. He makes an amused grunt. E. Boykins raises his head and strokes Allison's cheek.

E. BOYKINS  
I tried all I could, Alise. It's for you.

He then softly kisses in her hair.

Hands moves up and down her body, cupping her chin, teasing her tits, running up and down her thighs. Allison groans and squirms as one of his fingers enters her slowly.

E. BOYKINS  
You need more?

ALLISON  
(murmuring)  
Yes...yes...do you...Ah! Yes.

The pressure increases.

ALLISON  
(panting)  
Oh...oh, Stefan.

...straining to bear down on the delicious friction. The bindings that hold her in place give little, however, so she tries to shove her legs together instead.

E. BOYKINS  
Let's start it again.

He continues rubbing her pussy mercilessly. She groans. She moves her legs together again.

E. Boykins rustles; he cups her chin and kisses her hard. Allison lets out a muffled protest, not expecting this, and then her nostrils are being pinched shut.

A wad of fabric is then shoved into her open mouth; it is punctuated by a sharp aroma, and Allison suddenly realizes that she tastes herself.

E. Boykins keeps her nostrils pinched shut for another long, tortuous moment. She can feel his breath on her neck, hear his heavy exhalations, and then as he releases his hold on her, she feels his tongue swirl around the shell of her ear.

She moans into her own panties and E. Boykins' arm reaches around her, grabbing something off the shelf near her. Something wound around her head, holding the makeshift gag in place, and she can feel his fingers scrabbling to tie a tight knot.

E. BOYKINS  
Now, all are under my control.

She dangles there, whimpering slightly as he ghosts his hands over her body, as though considering what he is going to do. Suddenly he shoves her legs even further apart and there is something slick and hard being shoved inside of her cunt. The pleasant fullness sends waves of heat up and down her spine, especially when E. Boykins begins moving it around and pressing his knuckle against her clitoris. She moans again, knowing he will never allow her to climax so quickly. Sure enough, he pulls back on his ministrations so there is only a mild, slight movement. Allison groans, completely at her husband's mercy.

He continues wiggling the dildo around in her vagina. E. Boykins' movements are gentle yet firm; there is no intention to break any skin or cause her pain.

E. BOYKINS  
Should I let you come?

He flicks her clitoris purposefully and she yelps.

Allison huffs. Secretly, she thrills at her husband's touch. Seeming to sense the dichotomy of her thoughts, E. Boykins rams the dildo further up her twat, and simultaneously traces the hard nub between her legs in a furious circular motion.

E. BOYKINS  
You will be so happy tonight.

Allison shivers. It's a game, and yet it isn't. As much as Allison loves the range of E. Boykins' emotions - they make him tender in a way she never expected she needs or wants, and she adores him for that - there is something in his words that make her fear for her life. Still, when her body crosses into the seemingly endless stretch before the agonizing descent into orgasm, she momentarily finds herself lost in the sensations.

It is with wild abandonment, her eyes tearing behind the blindfold, her lips quivering and moist. The smell and taste of her own cunt seems to heighten the experience ever more, and Allison bites down on the underwear that E. Boykins has shoved into her mouth as she sobs through the pleasure.

E. Boykins chuckles as the heaving of her chest becomes less dramatic and he slowly rises his hands up.

E. BOYKINS  
(murmuring)  
Only this night, Alise.

She squirms as E. Boykins pinches an oversensitive nipple, her breasts supple yet firm. It has been a nice reprieve, her jerking seems to say, but she has had her fill.

His hand digs into his wife's side a little as he fumbles deftly with the rope holding her to the top of her closet.

E. BOYKINS  
I don't wanna hurt you but you want it yourself.

When he finishes loosing her, E. Boykins doesn't unbind Allison's wrists right away. She naturally holds them close as they dangle ineffectually in front of her, still bound tightly; though blindfolded, she senses that her flesh is slightly swelled. She only has a moment to focus on this, however, before she may feel E. Boykins sweep her into his arms, naked and frail, though she works so hard to be strong. Allison pulls out her panties.

ALLISON  
Do it. Don't play more, Stefan.

E. BOYKINS  
Yes, my heart.

He laughs, and then hauls her back up by her arms and cups her breasts to fondle them.

E. Boykins moves around to her front side. He lifts his wife's breasts with his hands, thumbing the nipples quickly and making her moan.

A moment later, E. Boykins' tongue on the hardened nubs on her chest; he sucks at her tits, nibbles them with just the barest amount of teeth, and licks at the tips. Allison's breathing grows erratic.

E. BOYKINS  
Please wait, my lady. I doesn't want to...

But she can't wait anymore, she puts him down onto the bed with strong hands. Her hands get free from anything and then he is under her.

ALLISON  
Who is stronger?

E. Boykins touches her cheek.

E. BOYKINS  
This is my Allison. Do it now.

She then sits on his cock, she tries to anticipate the extreme sensation that it will bring when it turns on, but nothing will quite simulate it mentally.

Allison gasps, and squirms in her bonds frantically. The stimulation is amazingly intense, and the lady struggles to get used to it.

E. BOYKINS  
Okay, my love. This time is the real love.

And his hands are again at her breasts, pinching and rolling her nipples, lapping at them with his tongue. Her tits are warm, now, fully involved in the various sensations being imposed upon her small body.

Allison pushes him back onto bed, causing his cock entering her harder and she cries out a bit painfully. Allison has squirms minimalizedly. Her body still quakes.

Allison smiles, grabs both his hands, locks them overhead as she tries to rock against him. Allison is like the strong man in a girl. She is rocking hard, as hard as she can, making him and herself groan in same rhythm.

Their happy and sexual moment is very very long as she has been the new controller, filling the room with the smell of theirs.

Allison's entire body quavers. He is jerking and crying loudly as well as she is doing so. The time for their climaxes is gonna come but they seem to be very tired.

E. Boykins tries to help her and he rises her up and down on him by his telekinetic power and his last concentration.

ALLISON  
(gasping)  
Oh! Stefan.

E. BOYKINS  
Harder, I know.

Allison is lifted up and down by his mind harder every second, Allison looks so tired as she starts to scream. And then one last time their screams are so loud at the same time. They climax after all.

E. BOYKINS' POV.: Her very tired angelic look slowly fall onto him. He looks down and...

...kisses her with power. He is also tired.

They both slowly fall asleep in each other's embrace.

INT. E. BOYKINS' BEDROOM – LATER

START TIGHT ON ALLISON as she's still asleep on the bed, not on his chest. Two hands enter frame with a white blanket, blanket her, making her warm and one gently strokes her hair.

PULL OUT, revealing E. Boykins sitting on the bed near her side, still naked. He is stroking her hair so gently with love and kindness.

C.U. HIS FACE displays happiness.

He smiles again and still strokes her hair. But she doesn't even wake, she's just asleep there.

E. BOYKINS  
Oh! My love. You're so pretty.  
Very very pretty like an angel.

He stops stroking her hair and looks around her beautiful sleeping body.

E. BOYKINS' POV.: slides to look at her sleeping face.

E. BOYKINS (O.S.)  
You are like my angel.

TIME CUT- E. Boykins getting onto his wheelchair.

E. BOYKINS  
Good night, Allison.

He blows a kiss to her.

TIME CUT- E. Boykins is now at the doorway, looking back to her.

E. BOYKINS  
I'll come back.

E. Boykins pumps exiting the room.

TIME CUT- The door closes behind him and then locks.

EXT. BALCONY – NIGHT

Preecha and John are at the balcony, looking at the view of completely-repaired city of Bangkok. The view out of this city is still mossy. E. Boykins pumps from the passageway to join them.

E. BOYKINS  
Good air tonight, friends?

JOHN  
Yes. I think so.

E. BOYKINS  
Cameron?

JOHN  
She is asleep in her room.

E. BOYKINS  
She needs very much time for that because her  
endoskeleton isn't metal like us. Her metal  
endoskeleton is Kalibaium, unlike our calcium.  
She needs more power than you to control it.

John turns to face E. Boykins but Preecha sighs, causing everyone to look at him.

PREECHA  
Here is where she always was at night.

John lays his arm over Preecha's shoulders, exhales.

JOHN  
You should understand, Pond. She's gone.  
I don't know how to speak it in Thai but  
I know that you understand English well.

Preecha turns and gives them a small smile.

PREECHA  
Thank you about that, my friends.

JOHN  
Where is the best for Tongba?

Preecha quickly turns.

PREECHA (cont'd)  
Tongba?

JOHN  
Yeah. Tongba. I wish someday I might taste it.

E. BOYKINS  
(funny)  
Pond, is what we heard right? John Connor, leader  
of the resistance, also wants to drink Tongba?

John looks at them both, flashing turns.

JOHN  
Why? Can't I just want something that I wouldn't  
dream of drinking? Why you look funny like that?

E. BOYKINS  
Because it's really a joke, Mr. Connor.  
We trio want the same thing tonight.

PREECHA  
Let's go, friends. Down to 1st floor restaurant.

Everyone turns to Preecha and sees his smile.

C.U. PREECHA'S FACE as he smiles with some tears. Happiness is mixed with sadness.

CUT TO BLACK:

SUPERIMPOSE: "PREECHA'S STORY"

PREECHA (O.S.)  
(reading in Thai)  
"Aunt Em had just come out of the house to water  
the cabbages when she looked up and saw Dorothy  
running toward her."

FADE IN:

INT. PREECHA'S ROOM – NIGHT

Preecha has been reading a book for his two-year-old son name MICHAEL SINGHMAK who is already asleep.

PREECHA (cont'd)  
(reading in Thai)  
""My darling child!" she cried, folding the little  
girl in her arms and covering her face with kisses.  
"Where in the world did you come from?" "From the Land  
of Oz," said Dorothy gravely. "And here is Toto, too.  
And oh, Aunt Em! I'm so glad to be at home again!""

Preecha ends the book, "The Wonderful Wizard of Oz". It was translated into Thai and it looked older than 50s year.

Preecha looks down at his son, strokes his head so gently.

PREECHA  
"I'll live with you if I can, my son. I'll be both  
your father and mother. I love you very much.  
As much as I love your mother."

Preecha leans and kisses on his cheek.

PREECHA  
"I'll do it with all my power."

Preecha stands and looks at the FEMALE CYBORG who slowly walks in. Let me tell anything about her, she looks very much like ALLISON SKYLAR YOUNG who appeared in F03E11. Except she has orange eyes like Savannah.

PREECHA  
Mia, please look for him all the time. If he wants  
milk, it's in cooler. If he wants more bedtime  
stories, read some from the shelves. If he...

MIA  
Whatever he wants, I will give him. Please go if  
you want. I'll take care of him for you, master.

PREECHA  
Thank you, Ma'am.

Preecha walks pass her and exits the room.

EXT. BALCONY – NIGHT

Preecha walks to the balcony, looks to the view. Fresh air and wind blow through his face.

PREECHA  
Huh! Mick, please give me strength. I don't  
know how to answer his question. Where is his  
mom? I know he will ask me in the near future.

JOHN (O.S.)  
So you should answer the truth.

Preecha turns and finds John joining him.

PREECHA  
Thought you would be still asleep.

JOHN  
That's Cameron who's asleep. I can't sleep  
right now. Just come here for fresh air.

PREECHA  
Your room's cramped?

JOHN  
No. But I think I just wanna feel fresher.

They both look at the view.

JOHN  
She'll be okay in the heaven.

PREECHA  
Thank you for coming here, Johnny.

JOHN  
Some of my friends said: Tailandia es tierra de  
sonrisa. Spanish means Thailand is the land of  
smile. It's really the truth as they said.

PREECHA  
I know that.

Then they just look at the view for awhile...before Preecha hears a wheelchair. Few seconds later, new coming is E. Boykins pumping to join them.

E. BOYKINS  
Good air tonight, friends?

JOHN  
Yes. I think so.

E. BOYKINS  
Cameron?

JOHN  
She is asleep in her room.

E. BOYKINS  
She needs very much time for that because her  
endoskeleton isn't metal like us. Her metal  
endoskeleton is Kalibaium, unlike our calcium.  
She needs more power than you to control it.

John turns to face E. Boykins but Preecha sighs, causing everyone to look at him.

PREECHA  
Here is where she always was at night.

John lays his arm over Preecha's shoulders, exhales.

JOHN  
You should understand, Pond. She's gone.  
I don't know how to speak it in Thai but  
I know that you understand English well.

Preecha turns and gives them a small smile.

PREECHA  
Thank you about that, my friends.

JOHN  
Where is the best for Tongba?

Preecha quickly turns.

PREECHA (cont'd)  
Tongba?

JOHN  
Yeah. Tongba. I wish someday I might taste it.

E. BOYKINS  
(funny)  
Pond, is what we heard right? John Connor, leader  
of the resistance, also wants to drink Tongba?

John looks at them both, flashing turns.

JOHN  
Why? Can't I just want something that I wouldn't  
dream of drinking? Why you look funny like that?

E. BOYKINS  
Because it's really a joke, Mr. Connor.  
We trio want the same thing tonight.

PREECHA  
Let's go, friends. Down to 1st floor lounge.

Everyone turns to Preecha and sees his smile. But he is smiling with some tears on his face.

INT. LOUNGE – NIGHT

A THAI FEMALE BARTENDER is tending bar. A fat American dude is puffing on a cigar. The whole lounge looks very common for a Thai lounge in most famous hotel.

DUDE  
Just tell me what time you get off. Work, I  
mean. What the harm in that? Whaddaya say?

The bartender smiles.

BARTENDER  
Excuse me, sir. I have my work all time. And I think  
that little you might wanna be overlaid by a coltan  
endoskeleton kind of cyborg, right?

The dude looks disappointed and leaves her.

PREECHA (O.S.)  
"So you just lied about that again my fine bartender."

Preecha and John sits down. E. Boykins pumps in, stops in front of counter.

BARTENDER  
(a bit courting)  
"Why you are here tonight, my mighty Colonel."

But Preecha doesn't even interest in her words, just looking around the bar.

PREECHA  
Just need three Tongba. Hope that you will  
have them for us. Inbedga knows we like it.

BARTENDER  
I can give you only one because you just lost your wife,  
I don't want you here just for encouragement drinking.  
It'll destroy your liver.

PREECHA  
Oh! Okay. Just one for me. And other two  
for my friends. John Connor and E. Boykins.

The bartender glances at John and E. Boykins.

BARTENDER  
Wow! You both were very good soldiers.

Then the bartender smiles and moves for their drinks.

**END OF ACT 1**

* * *

**ACT 2**

**(Psychic from future)**

INT. LOUNGE – NIGHT

The bartender sets down three of Tongba with each straw. Tongba actually is the vessel which holds the fermented alcoholic beverage known as Jaand. They trio start to suck it up.

E. BOYKINS  
Tongba is a millet-based alcoholic beverage found in  
the far eastern mountainous region of Nepal and the  
neighboring Darjeeling and Sikkim. It is the traditional  
and indigenous drink of the Limbu people of eastern Nepal.

JOHN  
I know that.

E. BOYKINS  
We didn't know how to do it at first. But when  
Colonel Inbedga came here, we started learning  
some from their knowledge. And our men can make  
it as well after all but only millet we have to  
wait until Inbedga supplies it here.

PREECHA  
How was it, Johnny?

John looks up, smiles. Everyone eyes him with interest. John tries to find words.

JOHN  
It's okay. Better than I expected.

PREECHA  
You know what? To Limbus Tongba is like what Sake is  
to Japanese, Vodka to Russians and Wine to French.

E. BOYKINS  
I and Preecha drank it every each our birthday.  
We usually grew for millet just a little bit.  
Now we didn't anymore. Inbedga had it up there.

PREECHA  
Tongba was culturally and religiously important to  
the Limbu people of far eastern Nepal.

Then the bartender wants to join...

BARTENDER  
(to John)  
Tongba actually is the vessel which holds the fermented  
alcoholic beverage known as Jaand. Jaand is prepared by  
cooking and fermenting whole grain millet. The cooked  
millet is cooled and mixed with murcha which is a source  
of molds, bacteria and yeast.

JOHN  
That's good to know, girlie.

But the bartender changes the look.

BARTENDER  
Don't call me like that again.

DRUNK TOWNIE (O.S.)  
My nickname's Townie. Hey, I know you, man...

An intimidating DRUNK TOWNIE sits down and sizes up John. He approaches, belligerent and looking for a fight.

DRUNK TOWNIE  
You, John Connor of Los Angeles. Son of Sarah Connor  
and the guy who have that metal bitch as his wife.

JOHN  
I have no quarrel with you. But she's my lady.  
You should be more respectful. She fought for  
every human and turned to be human for me.

DRUNK TOWNIE  
And you should shut the hell up, princess.

Preecha and E. Boykins look to John, concerned that he's going to lose it. But, to his surprise, John remains unaffected by the Townie's baiting.

JOHN  
I will not fight you, buddy.

DRUNK TOWNIE  
Then it'll be easy to kick your ass.

Preecha stands, steps between the two men.

PREECHA  
"I think you prefer to fight me. I just lost  
my wife and really want to a chill pill."

DRUNK TOWNIE  
"Don't butt in, Mr. Colonel."

The drunk Townie punches first but Preecha evades it, grabs both his hands, lifts him up easily and throws him onto floor.

PREECHA  
"I think you should call for hospital, first."

But Townie picks out his gun from beneath his jacket and fires at the head of Preecha. Nothing happens, the bullet is tortuous and falls from Preecha's wound to the floor, revealing Preecha's Kalibaium endoskeleton beneath his skin. The skin slowly self-repairs as Preecha kicks the gun off and grabs Townie up again. Lifts him still in the air.

PREECHA  
"Anymore fight, Townie?"

Townie now immediately abates, staring down to Preecha's eyes with fear.

TOWNIE  
"Please, Mr. Colonel. Please let me alive."

PREECHA  
"But I think you should abate more tomorrow."

Just then, Preecha HEAD-BUTTS the Townie, knocking him out. John's impressed. Preecha downs his drink.

PREECHA  
Guy like this should sleep for hours.

JOHN  
(to Preecha)  
Thank you.

PREECHA  
I think we don't have anymore problems.

KYLE (O.S.)  
Hey, why didn't you all wait me?

Everyone turns around and finds Kyle Reese coming to join them.

CUT TO BLACK:

SUPERIMPOSE: "KYLE'S STORY"

KYLE (O.S.)  
(whispering)  
Hope you will like this, my lady.

FADE IN:

INT. REESE'S BEDROOM – NIGHT

Standing and hugging in the room that they used to gather in on the top floor, The Reeses just gaze out the window to watch the full moon out there.

SARAH  
It was so beautiful, Kyle. This room has good view.

KYLE  
That might be why the Connors chose this for us.

SARAH  
Could be.

Kyle unwraps his arms and walks across room.

SARAH  
Where are you going?

SARAH'S POV.: Kyle Reese stands at the door, shut then locked the door, not wanting to be disturbed.

KYLE  
It's our night, Sarah.

KYLE'S POV.: Sarah is so beautiful with b.g. is the full moon, looking exactly like an angel.

SARAH (O.S.)  
Yes, our night.

They face each other but then she can find herself all but slam up against the wall. Before she can even blink, his mouth is on hers in a slightly awkward, but passionate, kiss. That works for her and she decides to go with the flow. If he wants to go about it this way, she will let him and just coax him along if he has problems. Wrapping her arms around his neck, she kisses him back, prying his mouth open with hers and letting her tongue slide in his mouth. Though this is something he is certain will be frowned on, Sarah is actually enjoying it. The sensations are something that he is finding to be quite pleasurable! And he wants more. He wants to push it further.

Pressing her tightly to the wall, mouth locks with hers, one of the hands slip up under the short skirt she is wearing. As he anticipates, he encounters those undergarments women wear call panties. Hooking a couple fingers into them, he tugs them down, trying to get them off her.

Understanding what he is going for, Sarah wiggles around to assist him, shimming enough that he is able to get them down the thin legs of the meat suit she is wearing then kicks them aside. Pushing on his chest slightly while keeping her lips lock on his, she fumbles with the belt he wears, getting it undone then the pants. Reaching in, she pulls out the cock of his vessel and strokes it a few times, feeling it throb in her palm.

Groaning in her mouth at the unfamiliar sensations, Kyle begins to thrust into her hand a couple times as the pressure builds. But that isn't enough. He wants something else.

Pressing her tightly to the wall, he lifts her up slightly. When he feels her legs wrapping around his vessel's waist, he presses the hips inward, encountering the wetness that is between the legs of the body. The smell of the arousal hits his nose and he finds it quite pleasing.

A moment later, he holds her firmly to the wall, mouth locks with hers while he, with one hand, grasps the hardened flesh of his vessel then guides it towards slitted opening of the female.

Feeling it touch the heat and wetness, he groans loudly in her mouth but presses onwards, breaching the entrance and sinking cock fully inside her. Once buries, he lets the instinct that is there take hold and begins to thrust, pinning her to the wall with his weight while he does.

KYLE  
(moaning)  
You like it?

SARAH  
(moaning)  
Please continue and don't stop until we climax.

Sarah feels great. Content to let him go, she clings tightly to him so she doesn't fall then slips one hand between their bodies and begins to rub the clitoris of her. It appears it is responding to the act so she is going for maximum pleasure with it. Rubbing faster as his hips pick up speed, she pulls away, gasping and panting, adoring the almost electric sensations that seem to dance up and down the nerves of the body.

Panting heavily, relishing in the sensations from the act, Kyle locks his gaze with Sarah's face as the hips of him seem to continue to thrust on their own, picking up speed and strength as they do. It is an act that feels amazing. And he thrusts, a heavy throb deep in Sarah's belly.

They chuckle.

KYLE  
This is just origin.

Kyle leans forward and crushes his mouth back down on Sarah's, kissing her passionately as his hips follow the rhythm dictated by the body. Grunting into her mouth, he clutches her tightly as he pounds into her. Then, suddenly, that throb seems to almost explode and the body dances with sensations as wave after wave of pleasure seems to radiate through it then the seed spills into Sarah while he rides out the wave that engulfs him.

Finger working faster on her clitoris, Sarah is groaning into his mouth as she clutches him tightly, hips bucking slightly. As he grinds into her, she finds her peak. Breaking off the kiss, her head drops back against the wall and she pants out his name as her hips buck, grinding onto the cock buries deep in her pussy.

DISSOLVE TO:

INT. OUTSIDE OF REESE'S ROOM – NIGHT

Kyle Reese just exits the room.

KYLE'S POV.: Sarah is sleeping inside the room, blanketed.

KYLE (O.S.)  
Good night, Sarah. I just got out to check around.

Kyle closes the door, locks it. And new coming is CATHERINE WEAVER who picks him.

WEAVER  
Hey, Reese.

KYLE  
Hello, Ms. Weaver. How are you tonight?

WEAVER  
I'm well.

Then they start walking.

KYLE  
What about your business around here?

WEAVER  
I already sent Dr. Art-ong with John Henry to  
the old server of Lucy Ann. John just needs  
some information for his wife.

KYLE  
You don't sleep. I know. I can't sleep tonight.

WEAVER  
You are strange to the place. It's very common.  
But only Sarah Connor can sleep easily. I think  
there may be John and Stefan and other can't too.

KYLE  
We'll see. But please I need some activities to do.

WEAVER  
Hope that you will be tired enough to sleep.

KYLE  
Whatever it be. Please tell me.

They go to the elevator.

WEAVER  
Exercise?

KYLE  
Okay. Maybe it can help me.

The elevator comes and they enter it.

INT. HALL – NIGHT

Weaver and Kyle exit the elevator.

KYLE  
Your plan is so good but it can't be right.

WEAVER  
It can. Mars is not so far from Earth. We could  
know much when Skynet controlled the planet.

KYLE  
So the things you told me in the elevator is  
just all this. You need some of my soldiers to  
the big change. Are you sure you have enough?

WEAVER  
Not hard to say but we can synthesize it easily.

KYLE  
Okay. You got what you wanted. Now forget about  
this serious problems. I just need something to do  
for sleeping tonight.

They stop. Kyle turns around and...

KYLE'S POV.: looking into the lounge and seeing Preecha HEAD-BUTTS the Townie, knocking him out. John's impressed. Preecha downs his drink.

PREECHA  
Guy like this should sleep for hours.

Kyle is heading toward the lounge.

JOHN  
(to Preecha)  
Thank you.

Kyle enters the lounge.

PREECHA (cont'd)  
I think we don't have anymore problems.

KYLE  
Hey, why didn't you all wait me?

Everyone turns around and finds Kyle Reese coming to join them. And they also see Catherine Weaver following Kyle.

WEAVER  
Wow! John Connor, I'm finding you.

JOHN  
What the hell do you want, Cath?

WEAVER  
We have not much time but I see how it happened.  
Why are you still here when our men out there are  
being killed, John Connor?

And also, new coming is JUPITER GODON.

JUPITER  
You are all terminated, heroes.

CUT TO BLACK:

SUPERIMPOSE: "JUPITER'S STORY"

FADE IN:

INT. PASSAGEWAY – NIGHT

It's in 2080. CAPTAIN TRIPOOM and JUPITER GODON are walking.

CAPT. TRIPOOM  
It has only one TDE which completely developed, sir.  
Ours are like theirs. Their TDE won't let you through.  
Only ours can but we can't bring any weapons with you.

JUPITER  
I'm my weapons. You know it as well, Captain.

CAPT. TRIPOOM  
I understand that by now.

JUPITER  
What will happen if they can change it?

CAPT. TRIPOOM  
We must have another choice, sir. We can't travel  
across the grandfather paradox to change things.

JUPITER  
You read Le Voyageur Imprudent.

CAPT. TRIPOOM  
Yes, sir. It was better than it sounded. The paradox is  
this: that the time traveler went back in time to the  
time when his/her grandfather hadn't married yet. At  
that time, the time traveler kills his/her grandfather,  
and therefore, the time traveler is never born when he  
was meant to be. So if they can kill our all father, we  
all won't be born in the world in another paradox. Despite  
the name, the grandfather paradox does not exclusively  
regard the impossibility of one's own birth. Rather, it  
regards any action that makes impossible the ability to  
travel back in time in the first place. The paradox's  
namesake example is merely the most commonly thought of  
when one considers the whole range of possible actions.

JUPITER  
So the grandfather must have already survived the  
attempted killing as stated earlier; or the time  
traveler creates, or joins, an alternate time line in  
which the traveler never was born. Like when John  
Connor, one of their heroes, traveled across time.

CAPT. TRIPOOM  
Yes, sir. And also the physicist David Deutsch ever  
had argued that if backwards time travel is possible,  
it should result in the traveler ending up in a different  
branch of history than the one he departed from.

JUPITER  
Thank you for explaining, Captain. Now lead me to  
where it houses in and don't say more about this  
grandfather paradox because no one can but we can.  
I have listened about it enough but never heard  
that our world had the kind of across timeline  
technologies like my friends out there.

Jupiter looks a bit pungent. Capt. Tripoom has his time to live no longer than some other cyborgs who are so stupid.

Jupiter spins as they turn to another passageway, stabs his sword arm into Capt. Tripoom's neck.

JUPITER  
You said enough, Tripoom.

CLOSE ON CAPT. TRIPOOM'S HEAD as THE METAL PARASITE exits through skin and joins the main mass on Jupiter's sword arm, disappearing through molecules.

Jupiter pulls out his sword arm.

JUPITER  
Thank you for your information, Captain.

Jupiter's sword arm smoothly changes shape and color, transforming back into an arm and then...

JUPITER CHANGES rapidly to be his silver form. He stands still as his back starts to separate a big mass of metal liquid out. It is shot out like a big ball, going to collide with the wall and bouncing back onto floor behind Jupiter.

Jupiter is like a statue as his sliver liquid quality body slowly bags and splits out many spots of snowball-shape liquid metal.

ANGLE ON ONE SPOT as it becomes like tiny Jupiter Junior. And it jumps with non-human force to...

...JOIN THE NEW MAIN MASS OF LIQUID METAL ON THE FLOOR.

INSERT, T-2000 DROPLETS are creeping together. Fusing into larger blobs. These pools shiver and run together, soon forming a central mass.

JUPITER turns back and looks at the new main mass.

JUPITER  
Rise up, my warrior.

A HEAD is forming up out of a pool mercury. It rises, as shoulders form, hunching up from the liquid mass. Half-formed, it turns to look straight at its master.

C.U. JUPITER as he smiles proudly and...

...the new T-2000 rises to man-height. It is still in mercury form, but its features are forming rapidly. It takes its first step forward, closer Jupiter.

JUPITER  
Show your face.

THE NEW T-2000 slowly MORPHS to be Jupiter. For their conversation, we'll call them as King Jupiter(Real one) and Jupiter(the new T-2000).

King Jupiter is pleased with his new creature. It's like a mirror in front of him. The hell-fire light glints on Jupiter's impassive face. It walks forward. It seems unaffected by its crystallization. The new Jupiter looks very calm and emotionless.

KING JUPITER  
What's your name?

JUPITER  
My name is Jupiter Godon. I fight and will  
fight for King Jupiter Godon of Solar system.

KING JUPITER  
What is your mission?

JUPITER  
Go back and kill every betrayer.

KING JUPITER  
Good enough, my warrior. Go!

Jupiter nods and walks to the King Jupiter's old way, going straight through the passageway.

ANGLE ON KING JUPITER as he leaves.

BACK TO JUPITER as he calmly walks through the passageway.

VOICE (O.S.)  
Hey! Who are you?

Jupiter turns and finds a 5'10" man. He's a handsome Thai. He is wearing security guard suit. His name is CRYSTAL. So he can't be just a Thai, we realize that this guy is a cyborg and...his gun is very like 12 Guage. And he's not a hypnos.

CRYSTAL  
I ask you a question, you should answer me it.

Jupiter silvers himself. That's clear. Crystal quickly pulls the trigger. KABOOM!

THE NEW JUPITER catches the SHOTGUN'S BLAST square in the chest just as he starts stepping.

CRYSTAL pumps another round into him. The another. And another. Advancing a step each time he fires, he empties the shotgun into the Jupiter, blowing him backward down the corridor. The sound is DEAFENING. Then silence.

JUPITER lies still on his back.

CRYSTAL  
What model are you, guy?

And suddenly, dead Jupiter answers...

JUPITER  
103. Series 2000.

Jupiter rises up fast as Crystal is reloading the gun, pushing the gun away. Jupiter draws his pike so quickly and is about to stab it into Crystal's chest but Crystal evades and kicks him out a bit.

CRYSTAL  
Good to know.

Crystal stops two feet in front of Jupiter. They appraise each other for a second.

JUPITER AND CRYSTAL size each other up. Crystal moves first. He grabs Jupiter in his massive hands but Jupiter snaps back with a counter-grip. After about two seconds of intense slamming, the walls on both sides of the corridor have all the plaster smashed in, and the two battling machines have blasted through the wall and disappeared.

INT. STEEL MILL - MAIN AISLE – NIGHT

They appear in a steel mill. Crystal grabs Jupiter and throws him against a big tanker where has a sign saying: "NO2" The tanker is only distorted.

Crystal grabs Jupiter again and throws into the air.

CRYSTAL  
I will see what will happen to you.

Crystal walks calmly toward the back of this big tanker and pushes it toward the way Jupiter lying.

CRYSTAL  
Finish my job.

The tanker smashes into a massive concrete support at the strong metal pillar near the area Jupiter is lying. Thunderous carnage of twisting metal. It splits wide open. A river of liquid nitrogen pours out at -230 degree. Freezing vapor swirls everywhere, obscuring the wreck.

Crystal picks out his old design .45.

CRYSTAL  
How will it be right now?

Crystal starts his steps.

TIGHT ON THE WRECK. A billowing gray cloud. Deep inside, the shape of the tanker in visible. A FIGURE emerges, pulling itself out. It drops to the floor. The hissing, boiling river of liquid nitrogen flows around its feet.

Crystal steps to look at it twenty meter away in front of the wreck of liquid nitrogen.

JUPITER staggers, moving slowly, painfully. It has finally been affected by something. Its feet are freezing to the ground as it walks...

CRYSTAL  
How was it like liquid metal?

CLINK! One of its feet breaks off at a glassy angle. It stumbles forward, and-

Its other foot snaps off. As it catches its balance on the stump of its other ankle, the whole lower leg shatters at the impact. It topples forward to its knees. Catches itself on one hand. Liquid nitrogen flows around the hand.

Now the hand is stuck to the pavement.

Jupiter pulls and... CLINK! The hand snaps off at the wrist. It looks stupidly at the glassy stump of a wrist like the T-1000. Is this really the fate of all liquid metal model? For the first time we see an expression on its face we know to be a true one...

The expression is pain. Agony. Its mouth opens in a soundless scream as the hoar-frost races up its legs, across its body. And that's the position it freezes in. It has become a statue, kneeling in the frozen vapor, that surprised look of agony frozen on its face.

The liquid nitrogen stops flowing and begins to evaporate.

Crystal, just beyond the boundary of the cold, can see Jupiter clearly. He draws his .45 and aims.

CRYSTAL  
(in Thai)  
"Good bye."

C.U. JUPITER'S FROZEN FACE with the sound... K-POW! A single shot runs to attack at the center of his head...

...blows Jupiter into a million diamonds spraying up into the air. They shimmer across the ground for twenty feet in all directions.

JUPITER (O.S.)  
Okay, that's my splitting image.

Crystal realizes but too late. Jupiter appears behind him, grabs him and throws him into another aisle.

**END OF ACT 2**

* * *

**ACT 3**

**(Jupiter traveled back)**

INT. AISLE – NIGHT

Jupiter smacks the weapon out of Crystal's hands. It clatters to the floor. Crystal lunges, slamming Jupiter against a wall with all his weight. The battle is joined again.

JUPITER  
Look at my power, you weak robot.

But Crystal grabs Jupiter and hurls it with awesome force against the opposite wall of the narrow alley. In less time than it would take to turn and faster than other liquid metal, Jupiter morphs trough itself, front to back... face emerging from the back of its head.

He comes off the wall straight at Crystal, who smashes his good fist into its face. The pile-driver blow buries Crystal's fist almost to the elbow.

But Jupiter's head morphs in a split-second into a hand which grips Crystal's wrist, and the head "emerges" somewhere else, the geometry shifting faster than we can follow.

Jupiter slams Crystal into a large machine, jamming his arm into the moving works. A massive sliding bar SCISSORS HIS ARM, smashing it into junk at the elbow, pinning him in the machine.

Crystal strains against the machine pinning him. We hear his servos whining with overload.

JUPITER  
Can you beat me from now on?

And Jupiter turns to see another Jupiter coming and joining his liquid metal mass rapidly.

JUPITER  
Who is stronger now?

CRYSTAL  
Then do what you want.

JUPITER  
The winner always gets that, guard.

Jupiter steps forward.

JUPITER  
But I need your information. You will  
tell me the location of the TDE.

CRYSTAL  
No way.

JUPITER  
Where there's a will, there's a way.

Jupiter leans, quickly transforms to be a girl and kisses on the Crystal's forehead as well as the lips that transforming to be liquid metal... the new mass pieces through skin into the ports. Accessing the CPU of Crystal which is exactly the T-800's CPU.

JUPITER (O.S.)  
What now?

Crystal nods his head once and Jupiter smiles.

CRYSTAL  
I am under your command now. I'll take  
you to see what you want to see, milord.

EXT. WAREHOUSE – NIGHT

CLOSE SHOT: This is some where in Bangkok. The acrid scent of smoke blended with the stench of burning trash.

INT. WAREHOUSE – NIGHT

Inside the warehouse, the contents of three barrels burn, each container places a calculated distance apart to warm as much of the space as possible. The meager flames are little help against the night's chill. Twelve Thais, all of them homeless, gather around the makeshift fires to heat their hands and keep the shadows of the night at bay.

They've all fallen on hard times in various ways, but they keep their stories to themselves in the late hour, opting to listen to the crackling fire, the howling wind, and the sheets of rain beyond the crumbling, graffiti-covered walls.

An angry snap fills the air. Everyone turns toward the center of the warehouse, wondering at the source. For a moment, there is only the fire and the storm, and they all begin to wonder if they have collectively imagined it. But then it comes again. A flicker of blue light accompanies it; a flash and crackle of electricity making the hairs on their arms and necks stand on end. Frowning, everyone steps back, assuming the storm they are seeking shelter from is finding a way to sneak inside their haven. When the third snap comes, louder than the others, it brings ice blue fire that split through the air and jitters across the floor. Some screams, turning to run as others remain to watch in confused horror as a ball of light seems to rise up and forms before their eyes.

It expands, pulsing and swelling until there is nowhere for them to go. When it reaches critical mass, the bubble releases all the energy it has been collecting, scattering it across the warehouse and sending those that remained tumbling to the concrete. One barrel tips and falls, landing with a bang as the burning trash

spills out across the floor.

The weak flames reveal two large, naked figures curl into a ball in the middle of the warehouse- JUPITER and CRYSTAL.

They stare back at him with disbelief. Outside, the rain lashes at the door, but the storm they've all sought shelter from suddenly seems like the safer alternative.

Jupiter zeroes in on one of them, moving forward with sudden purpose and a complete lack of modesty. The others recoil as he comes closer, pointing at the smartest man among them.

JUPITER  
What the year is it?

Every man looks confused. Then they laugh at both of them. Jupiter smiles proudly as he rapidly changes and wears his new programmed simulated clothes. Every man around here is agape. They all never saw this before.

JUPITER  
Will you answer me?

Crystal walks towards one of them.

CRYSTAL  
Give me your clothes.

JUPITER  
Please do as he asked before you die.

Without warning, Crystal hammer-punches him in the temple, flinging him with a CLANG. He drops to the ground in a still heap. Another whips out his SWITCHBLADE and slashes in one motion. Crystal catches the knife-wielder's wrist in an inhuman grip. He punches him with pile driver force just below the breastbone.

Jupiter kills other two more with his sword arms so easily in one or even two slashes.

The last tough is stumbling away, gaping with terror.

Jupiter quickly moves, grabs his neck and... slowly, his skin becomes silver, splitting out his PARASITE which enters this guy through skins, noses and ears. The guy looks hypnotized as his eyes show darkness in his mind.

THE PARASITE comes out through noses and gets back, joins the main mass of Jupiter's wrist.

Jupiter lets him go.

JUPITER  
You are so strong, Mr. Krisorn. Thank you.

MR. KRISORN smiles proudly.

MR. KRISORN  
Sir, whatever you want, I'll do for you.

JUPITER  
You told me that they will be in that hotel. So do as  
my plan, do all I told you to do. Everything musts  
be done by next night.

MR. KRISORN  
I accept.

The trio get out into the storm, oblivious to the cold, hard rain that struck his sharp features.

DISSOLVE TO:

INSERT TERMINATOR VISION.: We can realize about this vision easily, it's T-800's. And it's looking toward, the event in the Buddhist temple.

ZOOM IN:

EXIT THE VISION we pan to see a mirror nearby, this is Crystal. AND WE PAN BACK TO LOOK AT OUR HEROES. As well as, Crystal looks.

We see people are standing in front of the wall. There is Micky Sarkissian's relinquary there. The people- E. Boykins, Allison, Preecha and their friends are mourning over Micky's death, all look sad.

Preecha puts down the beautiful bouquet in front of her relinquary. And looks down, crying hard like he lost everything in his world.

PREECHA  
I'm sorry. If I cared you more than that,  
you wouldn't die, you wouldn't leave me.

Preecha stares at her picture with tears nearby as Preecha slowly reaches out his hand and touches her picture. It's the last picture of her he can touch.

Preecha turns back and looks at E. Boykins who touches his shoulder, also crying there.

E. BOYKINS  
"I'm sorry."

Preecha pauses, inhales and exhales, relaxing from everything and facing his friend. He smiles friendly as his tears are still flowing from his eyes.

PREECHA  
"Never mind. I understand you, Stefan."

E. Boykins smiles back.

E. BOYKINS  
"We won't be your burden. I can take it easily.  
But can you tell me about your project? I just  
wanna know more about it."

Preecha thinks about it, wiping his tears.

PREECHA  
"Okay. But after I take everybody here into our  
big Bangkok tour program today. Thank you for  
your moral support. Definitely, I can remember  
her forever but I just have to live with present.  
I still have my child. Commiseration isn't good  
for my son. I'll be both his father and mother.  
I'll try to be as much as I can."

E. Boykins touches his shoulder.

E. BOYKINS (cont'd)  
"And this is really my friend. Micky would  
be very very happy if she could see this."

Preecha looks to everybody else. All tears are gone.

PREECHA  
Anybody aren't ready for this tour?

Everyone is happy to see Preecha like this. They all smile and...

ALLISON  
We all are ready, Pond. We just want you  
to be okay today. Let's go. We won't make  
you more problems today. We promise.

Preecha smiles proudly.

PREECHA  
Let's go, my friends.

Everybody looks very surprised with that.

Preecha leads them out of here. Everybody follows him as he starts saying:

PREECHA  
This place is Wat Mahathat Yuwaratrangsarit  
in Thanon Maha Rat, Phra Borom Maha Ratchawang,  
Phra Nakhon, Bangkok 10200, Thailand.

The tour continues through the temple garden but Allison sees that E. Boykins separates out of the group to see someone's picture on the grave wall.

The group goes away but not much.

Allison relaxes and walks toward E. Boykins.

ALLISON  
Who are you looking at?

E. BOYKINS  
My cousin. Not a close cousin but my cousin.

Allison looks at the picture.

ALLISON  
This is who you ever told me many years ago?

E. BOYKINS  
Yes. This is another great grandchild of my great  
grandpa. His grandpa is my grandpa's uncle who had  
the best electromagnetic power. His mother was a  
Cambodian and his father was killed by Jack's men  
during the trace for the Pichitchais. His last name  
is from his mother.

ALLISON  
So this boy was a psychic like you.

E. BOYKINS  
And he was a hero. During the transportation of some  
chemicals from America to Psytech Corp and some other  
countries in middle Asia on children day, there is a  
group of men who wanted to harm the U.S. Cargo ship  
in Thailand with their referrible God's command. This  
boy was the one who stopped the bombs around Bangkok  
with all power he had. However, we tried to find him  
but the last time we found him was when he tried to  
save some Cambodians from one hundred T-500s.

ALLISON  
So he was killed.

E. BOYKINS  
Yes, my love. He's dead. No one is as brave as him.

Allison touches his shoulder. And he looks over his shoulder to her. She and Orwell smile.

ALLISON  
For me and your kids, no one is as brave as you.  
No one is better than you and no one is sharper  
than you. You are always our hero.

They go after the group.

CRYSTAL starts moving, carefully.

TIME CUT-

Crystal, Jupiter and Mr. Krisorn appear near the picture.

MR. KRISORN  
This boy helped us, sir. Not everyone knew enough.  
He was that psychic's cousin and he died on J-Day.

JUPITER  
Anything I should know more?

MR. KRISORN  
The hero called Mercury Man helped him from guys on Thai  
children day in 2007. That hero also died on same day.

JUPITER  
Radiation killed him.

MR. KRISORN  
No. A group of terminators with plasma weapon prototype.

CRYSTAL  
Easy to say that this hero was as hard as General  
Pichitchai to be killed. His electromagnetic  
abilities could destroy machines easily.

JUPITER  
Okay, let's go.

Then they go.

INT. PASSAGEWAY – NIGHT

Catherine Weaver is walking alone. She feels like someone is after her. She turns back but...

JUPITER approaches behind her.

JUPITER  
Long no see, Ms. Weaver.

Weaver turns but too late... Jupiter stabs his fist into Catherine Weaver. She is agape with it. She can't move.

WEAVER  
What the hell is this?

JUPITER  
Kaliba Group model 103 series 2000. My name is  
Jupiter Godon. You look better than I ever saw in  
my future. I thought you might be very surprised.

Weaver locks eyes with Jupiter.

WEAVER  
Yes, I'm so.

JUPITER  
Good enough. First let's see what they have.  
Maybe kill them all before they or Henry know.

WEAVER  
I accept.

Jupiter smiles and pulls out.

Then Crystal and Mr. Krisorn come to join.

WEAVER  
What about them, milord?

JUPITER  
They'll go for their wives.

MR. KRISORN  
I'll kill lady Allison.

CRYSTAL  
Cameron Connor is mine.

Jupiter gazes Weaver who gives him a friendly smile.

WEAVER  
I'll group them by trick. You kill them all, milord.

JUPITER  
Okay, daughter. Hope that Henry won't come when I  
fight against them all. I think I can kill them.

WEAVER  
He won't.

INT. OUTSIDE OF REESE'S ROOM – NIGHT

Kyle closes the door, locks it. And new coming is CATHERINE WEAVER who picks him.

WEAVER  
Hey, Reese.

KYLE  
Hello, Ms. Weaver. How are you tonight?

WEAVER  
I'm well.

Then they start walking.

KYLE  
What about your business around here?

WEAVER  
I already sent Dr. Art-ong with John Henry to  
the old server of Lucy Ann. John just needs  
some information for his wife.

KYLE  
You don't sleep. I know. I can't sleep tonight.

WEAVER  
You are strange to the place. It's very common.  
But only Sarah Connor can sleep easily. I think  
there may be John and Stefan and other can't too.

KYLE  
We'll see. But please I need some activities to do.

WEAVER  
Hope that you will be tired enough to sleep.

KYLE  
Whatever it be. Please tell me.

They go to the elevator.

WEAVER  
Exercise?

KYLE  
Okay. Maybe it can help me.

The elevator comes and they enter it.

INT. HALL – NIGHT

Weaver and Kyle exit the elevator.

KYLE  
Your plan is so good but it can't be right.

WEAVER  
It can. Mars is not so far from Earth. We could  
know much when Skynet controlled the planet.

KYLE  
So the things you told me in the elevator is  
just all this. You need some of my soldiers to  
the big change. Are you sure you have enough?

WEAVER  
Not hard to say but we can synthesize it easily.

KYLE  
Okay. You got what you wanted. Now forget about  
this serious problems. I just need something to do  
for sleeping tonight.

They stop. Kyle turns around.

PREECHA  
Guy like this should sleep for hours.

Kyle is heading toward the lounge.

JOHN  
(to Preecha)  
Thank you.

Kyle enters the lounge.

PREECHA (cont'd)  
I think we don't have anymore problems.

KYLE  
Hey, why didn't you all wait me?

Everyone turns around and finds Kyle Reese coming to join them. And they also see Catherine Weaver following Kyle.

WEAVER  
Wow! John Connor, I'm finding you.

JOHN  
What the hell do you want, Cath?

WEAVER  
We have not much time but I see how it happened.  
Why are you still here when our men out there are  
being killed, John Connor?

And also, new coming is JUPITER GODON.

JUPITER  
You are all terminated, heroes.

ALLISON (O.S.)  
Who really are?

Both Jupiter and Weaver turn to face...

Allison with her black cape and shotgun, Cameron, Sarah, Stefan Jr., Maggie Moon and John Henry(with on-board plasma cannon charging) stand behind them.

ALLISON  
No one can touch them now.

Allison slides the cock of her shotgun.

CUT TO BLACK:

SUPERIMPOSE: "ALLISON'S STORY"

FADE IN:

INT. E. BOYKINS' BEDROOM - NIGHT

E. Boykins is now at the doorway, looking back to her.

E. BOYKINS  
I'll come back.

E. Boykins pumps exiting the room.

TIME CUT- The door closes behind him and then locks.

WE PAN TO SEE ALLISON AGAIN.

She is still asleep. But the sound of door opening wakens her. She slowly sits up and looks at the new comer- MR. KRISORN. Allison quickly steps out of bed.

ALLISON  
(in Thai)  
"Who are you? Why are you here?"

But Mr. Krisorn doesn't answer, he draws and aims his Glock 18 at Allison who quickly evades from the range.

A SHOT rings out, missing Allison, hitting the bed and the wall where Allison was.

Allison twists and hits Mr. Krisorn in the ribs.

THE GUN falls to the floor.

Allison takes a few punches at him, but he's able to evade/deflect them. She launches herself at him, who is able to use that to smash her into the wall. Allison cries out of pain.

Allison kicks out, connecting with his ribs again. On the second kick, he catches the leg and twists Allison to the ground-hard enough that Allison has to regroup long enough for him to retrieve the gun.

Mr. Krisorn grabs the gun and aims it at Allison again, fires right at her head.

But the bullet stops in front of her just a few centimeters and falls onto floor.

MR. KRISORN  
What the hell was that?

Allison can't wait and almost think that it's E. Boykins' work. Allison quickly grabs her black cape, snaps his gun and throws it away from him. She coils his neck with her cape and jerks him to collide with the wall.

Allison quickly grabs her clothes, launches herself against door and gets out of her room.

Mr. Krisorn stands up.

MR. KRISORN  
Good girl. But you can't just run from me.

Mr. Krisorn picks up his gun and runs out after her.

INT. OUTSIDE OF ALLISON'S ROOM – NIGHT

Allison's completely putted her clothes on, now she is running across the long corridor. Mr. Krisorn exits her room with his gun that is with silencer, firing after her but every bullet falls on the ground every time he fires.

Allison finds the dead end. She turns back and sees Krisorn running toward her, gun aiming right at her. Allison evades and falls on the ground, hard.

ALLISON  
How can I run? Please help me, Stefan.

Krisorn comes and almost gets close to Allison but a girl jump into the way and kicks him away. She's MAGGIE MOON.

Krisorn looks up. Allison looks at the girl. And the another new comer- STEFAN JR. who has done fingers-to-temple gesture.

MR. KRISORN  
Maggie Moon. Stefan Junior.

Allison just sits and watches as Maggie Moon fighting Krisorn with her Muay Thai abilities and skills. She strikes him with her elbow but he can evade, grab her legs, twist her to fall. Maggie rises so quickly and they kick each other simultaneously.

Stefan Jr. stares hard at the man and he can charm with somniferous telepathic abilities. Krisorn stops and falls asleep.

Maggie Moon quickly picks out a water gun-like pistol that has blue liquid inside, aims it at...

THE HEAD is broken by a PARASITE which jumps into the air and then is shot with blue liquid. It's frozen by liquid nitrogen.

Maggie Moon keeps her gun back into her leather pack.

Stefan Jr. turns to Allison and politely reaches his hand down to her, offering to help her up.

STEFAN JR.  
Come with me if you want to live.

Allison, is a daze, takes the hand in her shaking fingers. Stefan Jr. lifts her to her feet.

ALLISON  
Who are both of you?

STEFAN JR.  
Honesty...Mrs. Pichitchai, my nickname's Stefan.  
Stefan Junior. I'm your grand child, the son of  
Sittipong Pichitchai and my mom, Kitty Flores.

Allison never expected to see this and couldn't believe this but the face of Stefan Jr. looking a bit like E. Boykins. This can be the truth. But who's the girl? Allison turns to Maggie.

MAGGIE MOON  
Oh! Apologize, ma'am. I'm Maggie Moon.  
Stefan's fiancee. We're from the 2080.

Allison looks at them both. Is this a nightmare? Or she's too tired. The boy is her grandchild. The girl is his fiancee.

**END OF ACT 3**

* * *

**ACT 4**

**(True Mission)**

INT. CORRIDOR - NIGHT

FIGURES MOVE TOWARD US down a corridor of polished tile and two-tone walls. Allison, Stefan Jr., Marcus (with Sittipong), Maggie Moon and Nevlin Glau(with Jirachaya) are moving through.

ALLISON  
So in the future you two came from has a T-2000  
name Jupiter Godon. It sent its men back through  
time to kill us all. But I still don't understand  
why it has to kill us. You said it won humans?

STEFAN JR.  
Yes, grand. It won us but future...  
(looking at Nevlin with a smile)  
Nevlin Glau sent us both back through time with  
redesigned time displacement equipment. The TDE  
got high energy from a mystery amulet we found.

Nevlin is now like a deer in spot light.

MAGGIE MOON  
We have to send you both back through time to 2012.  
Your true mission is to stop Judgement Day. It's only  
one way to block Jupiter in that timeline forever.  
No one will be under machines anymore after all.

MARCUS  
What about both of you?

They stop and look at Maggie Moon and Stefan Jr.

STEFAN JR.  
Now it's not the time to think about that.  
We have to help Cameron from another hypnos.

ALLISON  
Follow me.

Allison leads their way toward another corridor. WE WHIP PAN TO SEE CAMERON and CYSTAL fighting in this corridor.

ALLISON  
What the hell is that?

STEFAN JR.  
She needs help.

Stefan Jr. steps forward, stretches his fist, his telekinetic power pushing Crystal away from Cameron who has fallen on the ground. Allison quickly moves toward Cameron, helping her up to her feet.

ALLISON  
Are you okay, Cam?

CAMERON  
Why has it attacked me?

Everybody runs to join as Crystal slowly rises.

STEFAN JR.  
It's hypnos, Mrs. Connor. The T-2000 did it.

Cameron relaxes from little burnout.

CAMERON  
So be it.

ALLISON'S POV.: Cameron jumps from Allison, rushing toward Crystal and punches into his chest powerfully, pulling out his power source and throwing it beside.

Cameron turns to them as Maggie Moon separates from them toward Cameron with her liquid nitrogen gun.

CAMERON  
It's finished.

MAGGIE MOON (cont'd)  
Not yet, ma'am.

Allison looks down.

ALLISON'S POV.: The head of Crystal is slammed by PARASITE from inside its endoskeleton.

ALLISON  
Cameron!

Cameron quickly turns to see the parasite. She immediately jumps away from it. She looks a bit frightened.

CAMERON  
Mimetic poly alloy.

CLOSE ON THE PARASITE as liquid nitrogen drops on it, freezing.

Maggie Moon brings her gun back into her leather bag.

MAGGIE MOON  
We have to get away from here as fast as we can.

STEFAN JR.  
Next are the Reeses.

MARCUS  
Are you sure that we can't really destroy it with HFC?

STEFAN JR.  
John Henry ever did it but...

JOHN HENRY (O.S.)  
He couldn't destroy it.

Everybody turns to find John Henry near the elevator.

JOHN HENRY  
I saw and heard what the hell happened to Ms. Weaver.  
That guy, the T-2000 hacked into her whole system.  
It worked so fast. I never saw that one who can do.

Stefan Jr. smiles proudly.

STEFAN JR.  
Good to know that you're alive from them.

ALLISON  
And now the question is where the hell is Weaver?

Everybody looks serious.

INT. REESES' ROOM – NIGHT

Sarah wakes up. She turns around, searching for Kyle Reese. He's not here.

SARAH  
Kyle!

Sarah stands up. The door opens and Allison hurriedly enters the room. Allison is serious.

ALLISON  
Apologize, Mrs. Reese. But we have to hurry.  
Unless, all our beloved will die. Get dressed.

As a good fighter in the legend, Sarah quickly rises and rushes toward her wardrobe. Opens it, grabs a shotgun and sends it toward Allison.

Sarah is putting her clothes on so quickly as a trained servicewoman.

SARAH  
What happened?

ALLISON  
There's a metal from far future. It can hypnotize  
people. It sent its best men here to kill enemies.

SARAH  
Who're targets?

ALLISON  
All of us.

Allison exits.

Sarah finishes dressing and follows her.

INT. HALL – NIGHT

Weaver and Kyle exit the elevator.

KYLE  
Your plan is so good but it can't be right.

WEAVER  
It can. Mars is not so far from Earth. We could  
know much when Skynet controlled the planet.

KYLE  
So the things you told me in the elevator is  
just all this. You need some of my soldiers to  
the big change. Are you sure you have enough?

WEAVER  
Not hard to say but we can synthesize it easily.

KYLE  
Okay. You got what you wanted. Now forget about  
this serious problems. I just need something to do  
for sleeping tonight.

They stop. Kyle turns around.

PREECHA  
Guy like this should sleep for hours.

Kyle is heading toward the lounge.

JOHN  
(to Preecha)  
Thank you.

Kyle enters the lounge.

PREECHA (cont'd)  
I think we don't have anymore problems.

KYLE  
Hey, why didn't you all wait me?

Everyone turns around and finds Kyle Reese coming to join them. And they also see Catherine Weaver following Kyle.

WEAVER  
Wow! John Connor, I'm finding you.

JOHN  
What the hell do you want, Cath?

WEAVER  
We have not much time but I see how it happened.  
Why are you still here when our men out there are  
being killed, John Connor?

And also, new coming is JUPITER GODON.

JUPITER  
You are all terminated, heroes.

ALLISON (O.S.)  
Who really are?

Both Jupiter and Weaver turn to face...

Allison with her black cape and shotgun, Cameron, Sarah, Stefan Jr., Maggie Moon and John Henry(with on-board plasma cannon charging) stand behind them.

ALLISON  
No one can touch them now.

Allison slides the cock of her shotgun.

ALLISON  
Everybody come here.

Allison fires at Weaver's legs, causing her to fall on the ground with fake broken knees. Meanwhile Allison does so, John Henry blasts Jupiter away in one shot.

JUPITER bounces and collides with walls, through to other room and other room.

Allison fires at Weaver again and again as John, Kyle, Preecha and E. Boykins quickly run to join Cameron, Sarah, Stefan Jr., Maggie Moon and John Henry behind Allison.

ALLISON  
Let's go.

Allison fires again at Weaver's head. They start running away. Only E. Boykins and Allison are still here.

Weaver rises again with complete-repaired body but...

Allison pulls the trigger.

CATHERINE WEAVER catches the SHOTGUN'S BLAST square in the chest. Allison pumps another round into her. The another. And another.

Advancing a step each time she fires, she empties the shotgun into the hypnotized Weaver, blowing her backward down the lounge. The sound is DEAFENING. Then silence.

E. BOYKINS  
We should go, Allison.

ALLISON  
I think so.

They both quickly run away.

WEAVER lies still on her back. But her blown body slowly repairs itself. After all, she sits up. Jupiter jumps into room again.

JUPITER  
Are you okay?

WEAVER  
No one can kill us easily.

They move out.

EXT. HOTEL – NIGHT

Allison, E. Boykins, Kyle, Sarah, Cameron, John, Stefan Jr., Maggie Moon, Mia (with Michael), John Henry and Preecha run from the doorway where Weaver and Jupiter just exit.

They all run as fast as they can.

JOHN HENRY draws his cannon as he runs.

JOHN HENRY (cont'd)  
Someone has to stop them.

John Henry fires at Jupiter, but missing him. The shot goes to the hotel. The wall explodes and water pipe is broken with the small fiery explosion.

E. BOYKINS  
(tiredly)  
It's useless. I can't run anymore.

E. Boykins stops and falls onto ground. Everyone stops and looks back at him. Allison rushes to him. E. Boykins hasn't touched his legs but his head.

ALLISON (cont'd)  
You have to come with us, Stefan.

E. BOYKINS  
Allison, go without me. My headache is painful.  
It distracts my mind. Please go, leave me here.

ALLISON  
No, we'll go together.

THE HYPNOSES slow down, calmly walking to them.

JUPITER  
However, you all can't stop me. Are these your hopes?

Everybody looks at Jupiter without fear.

ALLISON  
You can't do anything to him if I'm still here.

Jupiter laughs.

JUPITER  
You already said that.

Weaver and Jupiter stop, watching them.

JUPITER  
I killed all future you.

Jupiter steps toward E. Boykins, grabs his neck and lifts him up.

ALLISON  
(trying to help)  
Let him go.

Allison has tried to help with everything she has but Jupiter pushes her away.

JUPITER  
What now?

CLOSE ON E. BOYKINS as he slowly smiles.

E. BOYKINS  
You have never seen this, have you?

JUPITER  
What?

Weaver turns right and suddenly we hear the sound of truck driving closer.

WEAVER (cont'd)  
My king?

JOHN HENRY (O.S.)  
That's what we have.

Weaver turns, too late.

John Henry blasts a cannon shot at Weaver that pushes her away.

E. BOYKINS so quickly smiles and his telekinetic power pushes Jupiter backward, let himself go from Jupiter's hand.

And Jupiter is SMASHED by an oncoming car and thrown FIFTY YARDS into the near woods like a rag doll.

Allison supports E. Boykins up. They all meet NEVLIN GLAU PUSHING OPEN THE PASSENGER DOOR TO A pickup TRUCK. Marcus is in the back of truck with his shotgun.

MARCUS  
Quickly, we gotta go.

Allison, E. Boykins, Kyle, Sarah, Cameron, Preecha and Maggie Moon quickly move onto the truck.

NEVLIN  
What about you?

STEFAN JR.  
We'll buy you time.

NEVLIN  
Okay, I understand.

Nevlin closes the door and turns the car, driving to another way.

STEFAN JR. and JOHN HENRY turn to look at Weaver and Jupiter who slowly rise.

STEFAN JR.  
John Henry, you know the way to do all these.

JOHN HENRY  
Hopefully, your weapon can kill it.

STEFAN JR.  
My micro TDE stands in the south.

JOHN HENRY  
All the way you said. I need to go to Los Angeles.  
Lucy Ann, my wife is there. I really need her back  
through time with me.

STEFAN JR.  
So you have to sacrifice her for the greater good.

JOHN HENRY  
That's to save my life?

STEFAN JR.  
No, save everybody.

Stefan Jr. and John Henry stretch their fists at the same time. Then the whole street and parking lot of the hotel break and lift with sound of massive explosion.

INT. TRUCK – NIGHT

Sarah, Kyle, Cameron, John, Preecha (with Michael), Allison (with Sittipong), E. Boykins (with Jirachaya), Maggie Moon and Nevlin Glau are in the truck. E. Boykins looks tired. On tray behind them are Mia and Marcus. Nevlin is driving.

NEVLIN  
So where will we go?

MAGGIE MOON  
You should go to the south. It's clearly near  
the new dam. It is only one way we can get it  
ready before it comes to us.

NEVLIN  
And who am I in the future you came from?

MAGGIE MOON  
Why do you ask me like that?

Nevlin looks at Maggie Moon.

NEVLIN  
Why have you looked at me like that?

Yes, Maggie has always looked at Nevlin like he was her close friend or even relatives.

Maggie smiles friendly, her eyes display her true feelings to Nevlin like he's her uncle.

MAGGIE MOON  
You helped me a lot. My family is dead because of  
the war. They became hypnoses. You always was like  
my real uncle. You were our good leader. You led us  
in the war against hypnoses. You sacrificed everything  
to win and with your last hope, you sent us both  
back to save both our lives and your heroes.

JOHN  
So why do we have to go back through time?  
What about our friends in Los Angeles?

MAGGIE MOON  
Future Nevlin said that if we don't where or when  
Skynet sent its back-up to the Mars because there is  
no record about that, we'll have to do everything  
to stop the born of the T-2000.

CAMERON  
John Henry ever...

MAGGIE MOON  
No, John Henry didn't know. Skynet deleted and  
burnt all its records about Mars. So when John  
Henry hacked into the system. He might not know  
anything about it. He might know only he had to  
something with Mars.

SARAH  
So we have to restart it all.

MAGGIE MOON  
You can say that, ma'am.

NEVLIN  
Grandfather paradox. That's the plan.

Maggie nods.

MAGGIE MOON  
Yes. Grandfather paradox. Anything a time traveler does  
in the past must have been part of history all along,  
and the time traveler can never do anything to prevent  
the trip back in time from happening, since this would  
represent an inconsistency. In some points, this will  
also block in each jump. If we jump back and change only  
one thing the whole history will change after that. If  
we can kill Skynet, the T-2000 won't birth anymore.

NEVLIN  
And that will also stop Judgement Day.

KYLE  
Okay but we learn from past. If we can't destroy  
everything about Skynet, all technologies will be  
the part of engineering for new Skynet. Free death.

MAGGIE MOON  
We have records about Skynet. Where the cores are.  
Where they were built. Who built them. We can do.

E. BOYKINS  
How can you bring the record back?

MAGGIE MOON  
Our new design TDE allow us to move leather or  
other kind of dead cells products back through  
time. The power from shock would give the cells  
the temporary living status to trick the rules.  
This advanced model can also kill MPAT too.

E. BOYKINS  
Hmm! I think I understand what you mean.  
What about my PF self and Lucy Ann in LA?

MAGGIE MOON  
Your previous future self already know what to do.  
He and Lucy Ann will travel back through time too.  
My fiance already told them when we arrived here.

ALLISON  
You're very careful.

EXT. THE TRUCK – NIGHT

The truck drives pass the long road, heading to the south. Everything around is mossy.

DISSOLVE TO:

EXT. TENT – DAWN

The car screeches to a stop. There is a metal tent there with a T-800 endo and other four men(the same we found in where Stefan Jr. and Maggie Moon arrived) standing with weapons.

Everybody exits the car.

E. BOYKINS  
These men are all hypnotized?

MAGGIE MOON  
Yes, sir.

E. BOYKINS  
I never thought there would be other psychic who  
was good at hypnosis like my father and my aunt.

JOHN  
You can't do as this?

E. BOYKINS  
Never do. But I can.

MAGGIE MOON  
We have to hurry up. This is my reprogrammed.

Maggie steps to meet the T-800 who salutes at her.

T-800  
Sir, we have installed all bombs you need us to do.

MAGGIE MOON  
Our TDE, it's finished?

T-800  
Not yet, sir. We have a few problems with our power  
generator and function controls. We can't jump more  
than six persons back with only this generator. We  
need more than 4000 kilowatt power to transport more  
than six back 18 years or more. We need 6000 kilowatt.

MAGGIE MOON  
And we have a T-888 cyborg for that.

Maggie indicates Mia.

T-800  
With her power, we still need more 1000 kilowatt.

MAGGIE MOON  
So how much energy can your source produce a day?

T-800  
100 kilowatt.

MARCUS  
I think we can capture and reprogram cyborgs  
around for the works to fix this new TDE.

STEFAN JR.  
That's a good idea. Thank you, great grand.

MARCUS  
I just hope that I can help.

Maggie looks at the T-800.

MAGGIE MOON  
So work with that. We have to hurry it up.

T-800  
I'll do as asked.

The T-800 and two men enter the tent.

STEFAN JR. (O.S.)  
(shouting)  
Maggie!

Everyone turns to the north and finds John Henry and Stefan Jr. flying toward them with a freezer box.

Maggie looks glad with that. Stefan Jr. and John Henry land on ground. John Henry puts down the box. Stefan Jr. suddenly rushes to hug Maggie.

STEFAN JR.  
Oh, my love. I miss you so much.

MAGGIE MOON  
So do I.

They separate and all look at the box.

E. BOYKINS  
What is in this?

JOHN HENRY  
Catherine Weaver.

ALLISON  
Wait, you take her back?

JOHN HENRY  
Yes. I need her. She's my mother.

JOHN  
So we have to reprogram her back.

MAGGIE MOON  
I think we have a way. Only one way. I learned how  
to do in my major. MPA reprogramming is really hard  
but it doesn't mean we can't. We just have to access  
all systems in one shot. We can build device but we  
need a day for it. Maybe today. Are you sure they  
can't access the satellites?

PREECHA  
I'm sure, Miss. We haven't installed nodes yet?

JOHN HENRY  
Only me in here can access them.

MAGGIE MOON  
So we're sure now the T-2000 won't find us easily.

E. BOYKINS  
Then what about our rooms?

Maggie Moon points at the tent.

MAGGIE MOON  
We have everything down there for all of you.

E. BOYKINS  
So be it.

E. Boykins looks at everybody. They all nod.

E. BOYKINS  
Well, I guess that's worth a word.

CLOSE ON E. BOYKINS as he smiles.

ALLISON (O.S.)  
Yes, I guess that too.

FADE OUT:

SUPERIMPOSE: "To be continued..."

**END OF ACT 4**

**THE END**


	7. EP07 : Pain can be Controlled

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**Terminator:  
The Across Time Chronicles**

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**F05E07**

"**Pain can be Controlled"**

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**Written by  
Stefan1994**

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This document is fan-produced fiction based on the television series, Terminator - The Sarah Connor Chronicles, and a fan-made season of fan fiction, F03 and F04 Terminator - The Resistance Fighters Chronicles, written by Stefan1994, eyeshieldTe and Mario28. This is done in spirit of fan fiction, to have fun and enrich the total fan experience beyond the limitation of the original story vehicle. In that spirit, and holding to the long tradition of free promotion. This story is being made available to the show fans for entertainment purposes.

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* * *

**TEASER**

WE OPEN ON:

EXT. STEFAN JR'S TENT – NIGHT

There is a guard here, he's a wounded T-800 cyborg with one RSB-80 on his arms. He looks around, insuring against dangers.

KYLE (V.O.)  
When I was just 20, I found a man. He was Thai,  
he's a good soldier. He could endure with pain  
and he taught me that pain can be controlled.

A T-950 endo and a T-888 endo get out from the tent and join him as we slowly close on and...

KYLE (V.O.) (cont'd)  
He told me that every pain is up to our mind.

FADE TO:

INT. STEFAN JR'S TENT – NIGHT

Inside of the tent looks a bit like the inside of drill station, there are only one large size ironic balustrade elevator and a floor lantern.

KYLE (V.O.) (cont'd)  
If we think that it's painful, it'll be painful.  
If we don't, it'll be just nothing. That's why  
we humans can control our pain.

Our camera zooms and moves to look down the elevator shaft. There are many sub-basement stories down there. Like some kind of air raid shelter.

KYLE (V.O.) (cont'd)  
I hadn't believed that yet.

WE ZOOM INCREASINGLY, DEEPER INTO THE HOLE OF ELEVATOR SHAFT: We pass many sub-basement stories and at last, we stop at the elevator box.

KYLE (V.O.) (cont'd)  
But when I tried to do after this teaching once.

FADE TO:

INT. SUB-BASEMENT 4 – NIGHT

We zoom out from the elevator and turn to the passage way where leads us to an only one room in this sub-basement.

KYLE (V.O.) (cont'd)  
It's the truth. It's helped me. It always.

CLOSE ON THE DOOR: there is a label say its owner; "Mr.& Mrs. P." This may mean Mr. and Mrs. Pichitchai's room.

INT. MR. AND MRS. PICHITCHAI'S ROOM – NIGHT

This is like a room in an apartment but it has no windows and it has a lot of light bulbs around such as on the walls, on the ground and in the corner. Some room dividers separate the room into a big living room in the center, a bedroom, a bathroom, a secured area with a computer, a built-in vault/armory, and a simple kitchen. Next to the front door is a reinforced wall for a "Host Area" with some easily reached small arms. The walls aren't painted. One wall is dominated by a built-in flat screen monitor. All electric appliances uses the power from a power generator in the armory near the kitchen, connecting with sockets.

KYLE (V.O.) (cont'd)  
Pain or comfort, it's up to our thought.

STEFAN aka E. BOYKINS is cooking something inside the kitchen while ALLISON PICHITCHAI is feeding her daughter with nursing bottle- JIRACHAYA PICHITCHAI or other name: ORWELL, in the bedroom. Her son, SITTIPONG PICHITCHAI or other name: SAM, is next to her, sleeping on the only one small clean worn-out bed inside the bedroom.

KYLE (V.O.) (cont'd)  
It's completely true.

Orwell falls asleep slowly after Allison has lulled and fed her with love and angel look. She hasn't shown any sadness.

Allison so gently, pulls out the nursing bottle when Orwell's eyelids close. Allison smiles happily.

ALLISON  
(whispering)  
Really hard kind of sleeping, Orwell.

Allison kisses on her forehead softly.

ALLISON  
(whispering)  
Good night, my girl.

Allison calmly moves and slowly puts Orwell on a cradle nearby. Allison opens the door. She looks back at her son and smiles again. The bed is very small and only Sam can sleep on it. Allison may decide to sleep on a sofa in the living room.

Allison exits the bedroom and walks to a big wooden table in the living room at the same time E. Boykins exits the kitchen on his wheelchair that has been controlled to move by his mind. His hands are laden with a covered tray of their foods.

E. BOYKINS  
These are all what I can do for us.

E. Boykins sets it on the table where Allison sits down.

E. BOYKINS  
I'm sorry for this, Allison.

Allison suddenly looks at him. And he uncovers the tray. There are one bowl of veggie soup, one plate of something looking like pork omelet, two plate of long loaf for both of them, one plate of fried rat(if you can remember the color) and two cups of tea.

E. BOYKINS (cont'd)  
I'm sorry for these junk foods.

Allison glances at them then gives him a small smile.

ALLISON  
No, Stefan. This is good enough. I can't be  
angry of you. This is really the best foods  
during the situation like this.

E. Boykins pumps closer into the table.

E. BOYKINS  
Situation like this?

ALLISON  
I can eat all these.

E. BOYKINS  
I'm so sorry, Allison. You should be angry at me.  
I ever promised that I'll take care of you well.  
But this, I'm gonna give you these junk foods.

E. Boykins looks conscience-stricken. Allison shakes her head.

ALLISON  
No, Stefan. I'm so happy with all these.

E. BOYKINS  
I promise. It won't be like this again after all.

ALLISON  
Okay. You can promise it. So please also ruin this.

E. BOYKINS  
I can't, Allison. This is my fault.

ALLISON  
Why can't you just read my mind already?  
It's so inconvenient to be a mental mute!

His eyes widen a little bit.

E. BOYKINS  
That's a new one. You love that I can't read your mind.

ALLISON  
Not tonight.

E. BOYKINS  
Why?

ALLISON  
Because all this angst would be unnecessary  
if you could see how I feel right now!

Allison exhales hard.

ALLISON  
Okay. Forget it. Let's have dinner together.  
If you really want punishment, you should be  
punished with doing after my command tonight.

E. Boykins realizes that, he stares at Allison. He decides to accept it.

E. BOYKINS  
That seems fair enough. Okay. What's the first?

ALLISON  
Have dinner with me, Stefan. And forget about this.

Allison smiles as she is about to spoon-feed him some soup.

ALLISON  
Start with this, sweetie.

E. Boykins smiles happily and accepts feeding. He looks quite happy when Allison does that to him. Then he also does the same. Allison eats it and gives him a happy smile. Then they both smile to each other and giggle so happily.

E. BOYKINS  
I think your command is good.

ALLISON  
Like you did many years ago.

They giggle again.

WE SLOWLY ZOOM OUT while they're having their dinner together so happily. Since their kids were born, they have had only few times like this, so this may be so valuable moment for them.

WE TILT UP AND FADE TO:

INT. SUB-BASEMENT 3 – NIGHT

...we move up to the passageway where looks a bit like in the sub-basement 4. On this, we can see the room of John's and Cameron's. CAMERA MOVES TOWARD THE ROOM and...

INT. THE CONNORS' ROOM – NIGHT

This room looks like in E. Boykins' and Allison's room. But it's smaller. The bathroom is bigger. Cameron rushes away from the dinning table where John is, into the bathroom. They haven't had their dinner much yet.

JOHN  
(after Cameron)  
Cam, what's wrong?

John wonders that.

JOHN  
It can be.

John quickly runs after her into the bathroom where Cameron vomits onto sink and opens the tap. John suddenly moves toward her and gently caresses her back while she's vomiting hard.

JOHN (cont'd)  
What is happening with you, sweetie?

Cameron looks over shoulder to him, brushes her hair away from her face and wants to answer but she quickly turns and vomits again. Only one thing John can do, is just caressing up and down on her back.

๋CAMERON  
(murmuring)  
I don't know. Maybe food poisoning.

JOHN  
Really. Just veggie soup. What's wrong, Cam?

Cameron stops it, turns on the tap to clean the sink.

John steps toward her, holds her anxiously, keeping her hair out of her face waiting till she can breathe again.

CAMERON  
(moaning)  
I really don't know.

JOHN  
Are you alright?

CAMERON  
(panting)  
Fine. It's just that. I think you don't  
need to see this. Go away. Go and eat.

JOHN  
Not likely, Cam.

CAMERON  
(moaning)  
Go away.

He helps her gently, ignoring the weak shoves she aims at him. After her mouth is cleaned, he helps her back to the table and sits her down carefully, supporting her with his arms.

JOHN  
I don't think about food poisoning.

CAMERON  
But it can be.

John puts his hand on her forehead.

JOHN  
It's nothing.

CAMERON  
Let's continue our dinner. I think you  
may be so hungry right now, John.

John smiles and sits down opposite her.

A sharp pain hits Cameron's stomach again when she moves. She lurches away from him, her hand tight over her mouth. She runs to the kitchen sink.

He holds her hair again.

JOHN  
Maybe we should meet Nevlin or some cyborgs who can  
scan or even check you. For the good of yourself.

Cameron is rinsing her mouth.

JOHN  
I don't wanna see you like this.

She shakes her head.

CAMERON  
No. I'll be fine.

After that, Cameron leaves John and enters the bathroom. She searches through her suitcase inside the bathroom for a little first-aid kit.

John is still outside, so worried about her.

Cameron doesn't find what she wants, she just stares at the suitcase. Then she starts counting softly.

CAMERON  
Once. Twice. Again.

The knock startles her.

JOHN (O.S.)  
Are you well, Cam? Did you get sick again?

CAMERON  
Yes and no.

JOHN (O.S.)  
Cameron, can I come in, please?

CAMERON  
Okay.

He comes in and appraises her position, sitting cross-legged on the floor by the suitcase, and her expression, blank and staring. He sits next to her, his hand going to her forehead at once.

JOHN  
What's wrong?

Cameron looks down at her own belly.

CAMERON  
John, my period is almost a month late.

His facial expression doesn't change.

CAMERON  
I don't think I have food poisoning.

He doesn't respond. He has turned into a sculpture.

CAMERON  
Sleeping so much. All that food. Temperamental.  
The dreams. This weird feelings. Oh. Oh. Oh.

John's stare seems glassy, as if he can't see her anymore. Reflexively, almost involuntarily, her hand drops to her stomach.

CAMERON  
Oh! Impossible.

John's still shocked.

CAMERON  
John!

John's mind comes back and he looks at her.

JOHN (cont'd)  
We should check it.

CAMERON  
Yeah. I think.

JOHN  
But first, you have to endure it and try to have  
dinner with me this time. We'll meet Nevlin or  
maybe that psychic afterward.

CAMERON  
I think it's a good idea, John.

JOHN  
I'll feed you.

CAMERON  
Thank you.

JOHN  
Never mind. You're my wife.

John helps her gently, ignoring the weak shoves she aims at him. After her mouth is cleaned, he helps her back to the table and sits her down carefully, supporting her with his arms.

They start their dinner. Cameron looks like she's trying to do what she hates to do but he always stares at her every bites. After Cameron's eaten for few bites, John starts eating his food.

Cameron can eat her food for awhile, she can endure it. She looks up at him and sees that he's eating those foods hungrily and filthily.

CAMERON  
John.

John quickly looks up.

CAMERON  
John, do you still wanna have children?

John cleans his lips with tissue and looks at her again. Her look is very serious. John just pauses.

CAMERON  
John, if I'm pregnant, will you still...

JOHN  
However, I'll still love you and also our kids.

That's very clear. John smiles and touches her left hand on the table, he caresses it so gently. Cameron still looks agonized.

CAMERON  
John, will it be very painful to give birth?

John sighs.

JOHN  
Oh! For me, most mothers can endure it. I think  
you may be able too. Don't forget what my dad  
taught my mom; pain can be controlled.

Cameron considers that.

JOHN  
And it's in the future, Cam.

Cameron thinks about it and then she smiles better. Then they both continue their dinner.

WE SLOWLY ZOOM OUT and...

FADE OUT:

* * *

**ACT 1**

**(Maggie's mind)**

INT. MR. AND MRS. PICHITCHAI'S ROOM – NIGHT

Allison and E. Boykins both is washing the plates and bowls together in the kitchen.

ALLISON  
They were so good.

E. BOYKINS  
They? You meant? These foods?

ALLISON  
Yes. All these foods. They tasted good.

E. BOYKINS  
I don't know how to save everybody if we  
don't kill the hybrids four of Skynet.

ALLISON  
Ellison, Van Meter, Brooks and Victor.

E. BOYKINS  
Yes. I don't wanna kill Richard Ellison  
and Ginyu Brooks as well. They helped us  
to destroy Skynet after they'd repented.

ALLISON  
You're so benevolent, Stefan.

E. BOYKINS  
I never want to kill repented persons.

ALLISON  
Their next timeline selves are out of this case.  
However, if we really need to, at that time you  
may have to do it for the good of world.

E. BOYKINS  
So I won't be a brick.

ALLISON  
No, Stefan. It's not bad to do. You're still  
good for me. You will do it for other bricks.  
I think it's a good sacrifice.

E. BOYKINS  
Okay. Thank you. I clear about this.

E. Boykins gives her a small smile. Allison looks at him and also smiles. She then laughs a bit happily as she finishes washing.

ALLISON  
(with a giggle)  
I hear these words many times.

E. Boykins smiles again.

E. BOYKINS  
Are you bored with them?

ALLISON  
No. I don't think so.

Allison steps toward him, she drops to his level. Slowly, she closes her eyes and leans closer him.

ALLISON  
(whispering)  
'cause I never bore you.

He stares with a little fear but anyway, he closes his eyes and does the same.

E. BOYKINS  
(whispering)  
So do I.

They kiss each other softly for a moment, and then they both chuckle. His hands hold the both side of her neck, keeping her face still close to his.

E. BOYKINS  
I was all braced for the wrath that was going to  
put grizzlies to shame, and this is what I get? I  
should infuriate you more often

ALLISON  
Give me a minute to work up to it.

E. BOYKINS  
I'll wait as long as you want.

His fingers knot in her hair. Her breath is becoming uneven.

ALLISON  
Maybe tonight.

E. BOYKINS  
Whatever you prefer.

ALLISON  
(as his lips pressing under her jaw)  
I'm glad you are gonna do after my command.

E. BOYKINS  
I'm doing you favor.

ALLISON  
That's a very good thing.

Then they kiss again.

DISSOLVE TO:

INT. MR. AND MRS. PICHITCHAI'S ROOM – LATER

They both are sitting on a sofa. She whips her top off and dropping it to the floor to bare her breasts. Allison is straddling his lap, her hand winding roughly into his hair at the back of his head and then tightening to pull it back, angling his face so that she can lower hers to capture his lips in a hungry, almost bruising kiss. Her always surprising warmth and mixture of hard musculature and soft femininity presses against him as she uses his mouth opening to protest to let her tongue storm the ramparts of his teeth and duel with his. His hands hover on either side of her shoulders.

Allison's other hand slides down between them and she lifts herself slightly, making him groan as she runs her hand down and then back up along his cloth-restrained length with heat and pressure. She continues to kiss him and he kisses her back, soon breathing hard through his nose while his hands settle on the backs of her shoulders and then slide down the silk of her back.

He groans again, but this time with relief as her dexterous fingers undoes his belt, undoes his pants and pulls down his zipper without any difficulty or even looking. His hands have settled on and cupped her ass and a small part of him registers that the thin material of her skirt is the only thing between his skin and hers.

She finally eases up and relinquishes his lips.

E. BOYKINS  
(panting)  
Allison, are you sure about this?

ALLISON  
You accept to do after my command tonight.  
Soldiers must do after their promises. You  
were soldier and I thought that you should.

E. BOYKINS  
So be it.

He grunts, his hips bucking and driving his dick into her hand without his command as she expertly fishes him out of the fly of his boxers. The hem of her skirt brushes across his dick as she slides her knees a little further forward on the sofa while rising higher. She grasps the base of his cock, positions herself and then sinks down all in one precise and fluid motion.

E. Boykins barely has time to register the steamy heat that confirms that she wears nothing under her skirt before that same heat envelops him.

E. BOYKINS  
(panting)  
Oh! Allison, you doesn't wear any...

But her action interrupts his speech.

Her sex rapidly surrounds him with liquid heat and pressure and draws a fast, delicious trail of buzzing friction down his length. Her slick, buttery flesh, pulses and flexes around him in an erratic massage and the small of his back twitches and tightens, making his hips thrust up to drive him into her. He lets out an explosive breath as the wave of pleasure radiates from his crotch to light up the rest of his nerves. He squirms as she slowly circles her hips to settle onto his lap and he massages her ass.

E. Boykins takes and releases deep, deliberate breaths to bring his suddenly churning balls and racing heart under control. Each time his chest expands he can feel the hot little coals of her nipples pressing into his skin through the thin material of his shirt as he flattens her breasts.

He can feel her breath hot against his lips and he opens his eyes to find hers just inches away.

E. BOYKINS  
(groaning)  
I'll endure for you.

ALLISON  
(groaning)  
I like this, Stefan.

He licks his lips and sighs as she rocks slowly back and forth, her molten core shifting around his length and massaging it with a velvet-vice grip caress. The pink tip of her tongue makes a slow circuit of her lips as well, leaving them glistening as they part. He can't stop his hips from undulating to match her as she slowly starts to rise and fall along his length with a slow blink of her long lashes. All his telekinesis have always been under his control but this time it's quite doing after his need.

ALLISON  
Oh! Stefan! Good. Good. Good.

Her head tilts slightly and then straightens.

E. BOYKINS  
The whole of my body is yours.

...and he finds himself raising an eyebrow.

He hisses as she circles her hips to corkscrew around him, her already snug flesh tightening and squeezing around him to intensify the stimulation and sends jolts of delight arching into him like lightning bolts. He catches a flutter in her eyelids and the slightest shudder run through her as she holds him like that inside her for a moment or two, not quite as unaffected by her actions as she wants to seem, before resuming her slow rise and fall and the more constant, but less intense sensation it creates.

He groans as he grips her hips and grits his teeth, his shaft pulsing against tight embrace and making him want to simply start pumping his hips to release the contents of his now churning balls. He is so close it will be easy to just slip over the edge, but for some reason he doesn't.

ALLISON  
Do it with all your strength.

He grunts, and sucks in a sharp breath before he grits his teeth as she continues to rise and fall on him, her rhythm steady and unwavering along with the pleasure she creates. He lets out his breath slow trying to remain in control of his rampant desire.

She feels really good as she continues to ride him and he doesn't really want it to end yet.

ALLISON  
(groaning)  
Please strengthen yourself for me.

She speeds up slightly and remarkably, her already snug channel seems to tighten around him even more, increasing the heat, pressure and friction. The relentlessness of her pace, her little adjustments that intensifies her stimulation of him, edging it with pain, but falls just short of pushing him over the edge. Is this really a punishment from Allison?

He has to bite back a cry as the velvet grip of her sex squeezes and then ripples around him.

His head presses back into the back of the sofa behind him as her movement continues to build the sweet, torturous tension in his groin. Allison arches her back and he slides one of his hands from her hips up over her ribs to capture her slightly swaying breast. His fingers flexes around her firm globe.

His mind works feverishly to process the shock waves of sensation that inundates his body. He blinks, both at the surges of pleasure from Allison and the surprising conclusion he comes to.

He almost shakes his head, the growl of frustration becoming a drawn out groan as she circles her hips and grinds down on him, her slick sheath stimulating his entire length and sending lightning strikes of delight arching through his system.

He acquiesces to her less-than-gentle urging he runs his tongue up along the valley of her cleavage before circling his tongue along the curve of her left breast until he finds and latches onto the tube of her nipple with his lips, tasting some small drops of milk from them. He may love it much. He starts to thrust up in sync with her by his telekinesis to control his cripple legs for support as she lowers herself onto him. He feels her breathing change as he suckles at first one and then the other her taut nipples and her pretense of unaffectedness slips further as little sounds of delight drip from her lips and she massages the back of his head. She sinks down on him, meeting his rising pelvis and then continues to bear down until he is settled fully back on the sofa before slowly circling his hips. E. Boykins can't stop his eyelids from fluttering and his ass clenching as her sex swirls, flexes and contracts around him while she grinds down on his balls.

He can't hold back anymore as the continuous jolts of delight combine into a powerful, roiling charge that finally breaks free and bursts across his senses as his hips jerk and his semen rockets up his length to erupt into her, welcoming, rippling sex. He grunts and isn't quite able to pull his mouth off her breast fast enough, his teeth clamping down on her nipple as he tenses under the electric assault of his climax. His hips jerk with each spurt, his cock expanding against her tight embrace as he drives up into her with all power. E. Boykins forces his jaw to unclench so that he can throw his head back to gulp in air and expel a rumbling growl of release.

His eyes snaps open and he cries out as she suddenly and rapidly bounces up and down on him.

E. BOYKINS  
(groaning)  
Allison...

His jaw once again clenches, his teeth grit to stifle his cries to grunts as she rides him hard and fast. His pleasure turns to pain as she already overloads nerves, her welcoming sex now a scorching furnace. His hands clutch at her hips in a futile attempt to stop her.

With a loud cry, Allison convulses and then collapses on top of E. Boykins, who continues to kiss her and stroke her sweaty brow.

ALLISON  
(quietly and weakly)  
I love you, Warapop Pichitchai. I love  
you with all my heart. My good husband.

E. BOYKINS  
(panting)  
I love you too, Allison Pichitchai.

E. Boykins holds her in his arms for the longest time, enjoying the warmth of Allison's body against his as she snuggles against him. They both lie together on this sofa without the uncomfortable feeling.

ALLISON  
I really want to be in your embrace all night.

E. BOYKINS  
I also want to hold you like this all night.

They lie there and don't wanna get off each other. He touches around her body and kisses on the back of her head, smelling the fragrance of her hair. They both slowly fall asleep.

INT. UNDERGROUND LAB – NIGHT

Two soldiers run down a tunnel...we hear them coming. They run into the large lab where dozens of men are working, including Nevlin. They're working only for the small chamber of new version TDE we've never seen. Stefan Jr. sits and watches.

Maggie Moon moves to join him from behind.

MAGGIE MOON  
I think you are up late.

STEFAN JR.  
I don't care myself, Maggie. This mission  
must be completed by us. We have to do it  
with all our abilities.

MAGGIE MOON  
But you have to sleep. I know you are a psychic  
but isn't a psychic human? Aren't you a human?

Stefan Jr. thinks about it.

MAGGIE MOON (cont'd)  
I think about all these a lot, Stefan. I left my  
family, my friends and my dystopian fate for you.  
So please you sleep for yourselves. Uncle Nevlin  
would be very proud if he could see you sleeping.

STEFAN JR.  
But the T-2000 will...

MAGGIE MOON  
I know but you have to sleep. You can't fight  
even just a T-600 if you don't get some sleep.

STEFAN JR.  
Uh! That sounds bad.

She's got him. Shape woman. Stefan Jr. gives her a small smile and slowly stands.

STEFAN JR.  
Thank you for that. It's very worth that  
I've tried to pull my telepathic abilities  
away from your brain.

MAGGIE MOON  
You can read it more than when you want.  
Use your mind to read not your own brain.

STEFAN JR.  
Yeah. I should do all that.

MAGGIE MOON  
How is your another ability?

Stefan Jr. looks confused.

STEFAN JR.  
Which one?

MAGGIE MOON  
The one you never show me.

STEFAN JR.  
Maybe I think I should read your mind.

MAGGIE MOON  
Okay. Let you see it.

Stefan Jr. does the two-fingers-to-temple gesture and gently touches her brain, this bringing him deeper into her mind.

-IN MAGGIE'S MIND

They both jump onto the bed together, kissing and quickly undressing each other. She whips her top off and dropping it to the floor to bare her breasts. They kiss each other again as well as their hands that softly touch each other's back. Their hot and sexual kissing look quite good.

Later in her mind deeper, she smiles as he slowly and gently slides himself into her. She groans as well. That's all the good picture beneath the need of her mind, her love for Stefan Jr. She never wants to be just his fiancee.

BACK TO PRESENT

...as Stefan Jr. gets his hand back and smiles.

STEFAN JR.  
I know what you want.

MAGGIE MOON  
Can you just do so for me?

STEFAN JR.  
I should be able for that. Maybe this will  
help closing my eyes to sleep tonight.

She smiles happily and they walk together down the underground passageway into the darkness.

Back at Nevlin as he turns and looks after them, he smiles. Then a scientist calls his name and he turns to join him. That scientist turns to the light and we can see the red glow beneath his eyeballs, revealing that all here may be cyborgs.

Nevlin walks to join and looks into a small screen on the cyborg's hands.

CYBORG  
We have not enough power to recharge it up.  
I think we might need pretty much power for  
the quick jump through time.

NEVLIN  
I knew about all this already.

CYBORG  
So, what do you think?

NEVLIN  
I think we have to meet them all tomorrow morning.  
Before that, I think we should fix and remake some  
functions to be automatic shutting because we may  
have to shut some down for greeter of one travel.

CYBORG  
Sir, yes sir.

The cyborg leaves him toward a computer at the corner of the chamber. Nevlin walks to look at the big power generator which connecting to seven hydrogen fuel cells on a big power storage.

NEVLIN  
I hope that this may help us a lot.

Nevlin grabs up a knife and then puts it down again at its place.

INT. CHALANGE ROOM – DAY

2080 Again; The room is dark-flat black.

SUPERIMPOSE: "MARS, 2080"

FOOTSTEPS from both shoes and metal feet ring out. A chair in the center of the darkness is under a light. A computer terminal plus scanner is positioned close in front but to the side.

Jupiter leads a T-950 ENDOSKELETON. The T-950 stops outside the lighted area. Light reflects from the T-950's shiny metal. Smoothly, Jupiter passes his wrist-the one that shows a BARCODE across it just under the palm-over the scanner, and stands in front of the terminal and chair.

AN ANDROGYNOUS VOICE  
Confirm your I.D.

When Jupiter speaks, his voice has a subtle electronic undertone to it.

JUPITER  
Kaliba system model 103. This is New Skynet.  
The King of Earthlings and of the solar system.

Jupiter stands patiently.

AN ANDROGYNOUS VOICE  
Accepted. Begin. Your majesty.

Jupiter now walks around the terminal to the chair.

JUPITER  
I'm sorry about that, my friend. It had been  
stolen from Thailand by those resistance men  
then they used it as power source and then they  
destroyed it when my people got to their base.  
It exploded and everything's become big hole.

AN ANDROGYNOUS VOICE  
I have heard the report. You failed saving the  
cathode of our Adoptagonium. My people share  
their ideas into my head that they will forgive  
you if you come here to join us. We have one  
last way to bring it back to all of us.

JUPITER  
What is it?

AN ANDROGYNOUS VOICE  
We shall answer back the signal soon, your majesty.

JUPITER  
Thank you for understanding us. Good bye.

Jupiter smiles and walks off. The T-950 follows him.

FADE TO:

MIA (V.O.)  
I don't think this may work.

INT. JOHN HENRY'S LAB – NIGHT

John Henry's lab is high tech and also is an underground lab. JOHN HENRY is sitting on a chair and MIA is plugging a big cord into...

JOHN HENRY  
It will work. It always have.

JOHN HENRY'S HEAD where all MPA leaves, revealing big port for that cord.

JOHN HENRY (cont'd)  
I must try this for my mom. It's only me  
who can get in and take control over the  
whole systems of hers without long time  
coding. I can do all this faster than  
every computer in here.

The cord's been being connected with a big frozen box via monitors and computers.

MIA  
This is madness.

JOHN HENRY  
I'll do it anyway.

MIA  
Okay, let's start. I'm gonna connect you to  
all connections. If she tries to take control  
yourself, please tell me, I'll pull this out.

JOHN HENRY  
I'm gonna try all my best, ma'am.

MIA  
Are you ready?

JOHN HENRY  
Anytime.

Mia goes to one computer and hits a couple of keys. The monitor shows connection confirmation dialog box. Mia clicks on "OK".

JOHN HENRY  
Good to feel all this, Mia.

MIA  
Start it, master.

John Henry closes his eyes, his concentration is taken for the reprogramming of Catherine Weaver.

INT. MAGGIE'S AND STEFAN JR'S ROOM – NIGHT

Maggie and Stefan Jr. both collide with the edge of bed in their dim unpainted bedroom, kissing passionately and so hot. Their organs are binding each other as they stand and keep this as long as their emotions can control them to do. A few seconds later, they separate, panting also.

MAGGIE MOON  
(panting)  
I love you.

STEFAN JR.  
(panting)  
I love you too.

She smiles when she sees that their joined shadows are casting about on the walls of the room. The harsh lighting from the unclosed door connecting to another zone of their room, highlights their movements, making their bodies appear in caricature: their bodies stretch and entwine together sensuously in the light.

They are panting as they talk:

STEFAN JR.  
My grandfather taught me that I shouldn't have  
sex with a woman whom I never get married with.  
Women should be virgins until they find their  
real love. I think we shouldn't do...

Maggie touches a finger over his lips.

MAGGIE MOON  
Shh! I think we should. I'll never be sorry to  
let you deflower me tonight. However, sex is  
the only one way for the beautiful creature.

She strokes his forehead and kisses it, just like she was comforting a child, also hoping that this will change his mind.

STEFAN JR.  
But...

MAGGIE MOON  
Life is very short, Stefan. As you told me before,  
relationships are just as important as rest and food.

Stefan Jr. starts to say something but she stops him, placing her fingers against his lips again.

MAGGIE MOON  
You helped me a lot. You did it without any  
desires to clutch at me and my body. You  
never do. I trust you. I want you to do it.  
(with a giggle and a smile)  
Or you are a gay?

Stefan Jr. quickly shakes his head.

STEFAN JR.  
No. I'm not.

MAGGIE MOON  
So please do that to me. I have waited all  
this for almost ten years. One day I'll be  
completely yours with both mind and body.

Stefan Jr's mental walls finally begin to break down. He feels both honored and scared.

STEFAN JR.  
I'm sorry. I just wanted you to freak out from sex.

MAGGIE MOON  
In this time and place, this is slow. One of  
us could be dead tomorrow, not that I would let  
anything happen to you, nor do I think you'd let  
anything happen to me. But I don't want another  
day to pass, not when we have this time alone.  
This is the first time for me and I want it to  
be with someone special. You have no idea how  
long I've waited for this moment and I want it  
to be with you. I love you.

Maggie Moon waits for the answer.

**END OF ACT 1**

* * *

**ACT 2**

**(Junior real loves)**

INT. MAGGIE'S AND STEFAN JR'S ROOM – CONTINUOUS

Stefan Jr. looks into her expectant face as she waits those brief seconds while he thinks. With nothing left to say, with no more arguments to offer, Stefan Jr. does the only thing he can do and kisses her.

STEFAN JR.  
Okay.

He gently caresses her lovely face.

STEFAN JR.  
If you love and trust me this much.

MAGGIE MOON  
I do.

She kisses him. They kiss each other for several seconds before their hands begin exploring the other's bodies. He runs his fingers through her tresses and down her back, feeling her body heat through his hand.

Stefan Jr and Maggie Moon unbutton their shirts and remove them. She then removes a tank top she had on underneath in place of a bra. Bared to the waist, they continue kissing each other. Stefan Jr's hands wander, gently caressing Maggie Moon's soft skin until they find her breasts. With a soft moan, she presses her breasts into his hands. He squeezes them gently and brings another soft moan from her as he rubs his thumbs over her nipples. They lie back on the bed. She begins kissing his bare chest.

As Stefan Jr and Maggie Moon continue their kissing and explorations of each other's bodies with their hands, she begins to tug at his waistband. Stefan Jr. reaches down and pushes her hands away and undoes his belt and slides his pants off. Maggie Moon stands and chucks off her own pants, revealing a small pair of shorts that she also removes.

Stefan Jr. takes a moment to breathe in her beautiful form. A vision of Aphrodite can't be lovelier. He draws her closer to him and places kisses on her chest and abdomen, while squeezing her buttocks in his hands.

Maggie Moon gasps as Stefan Jr's mouth and hands find her clitoris. She holds tightly onto his shoulders as waves of pleasure shoot through her. After a few minutes, unable to take anymore, she guides him around and slides onto the bunk so that she is under him.

MAGGIE MOON  
(groaning)  
Please do me favor.

They kiss as Stefan Jr slides an arm under her neck. His other hand goes to her chest, caressing each of her breasts. Then he moves lower, gliding over her stomach until his hand is poised at the top of her slit.

Maggie Moon places her own hand on top of Stefan Jr's. They look at each other for a moment, then Maggie moves his hand lower, guiding his fingers through her slick nether lips. She slowly moves his fingers up and down the length of her pussy, allowing him to catalog every detail of her sex. Finally, she positions his index finger so that it is at the entrance to the womanhood.

MAGGIE MOON  
(breathing hard)  
Trust me, please.

Stefan Jr nods. Then she gently pushes it in. Her vagina surrounds his finger with moisture and scalding heat. Her muscles flex around his digit, squeezing him gently. He curles his finger, pressing it against her walls, and she let out a low moan. Stefan Jr a bit worries about her pain but...

STEFAN JR.  
Is this really good?

MAGGIE MOON  
Of course.

STEFAN JR.  
And you like it?

MAGGIE MOON  
You can read it and I know you know how I feel.

After a moment Stefan Jr nods. As his finger continues to move within her, Maggie will let out the occasional gasp or moan. Finally Stefan Jr removes his hand from her sex and moves it up to cup her face.

STEFAN JR.  
You ready?

Maggie Moon nods.

STEFAN JR.  
Okay.

His hand goes down to her side, holding her ribs as he lowers his body to hers, his dick pressing against her crotch, her pussy hot and wet against his sex. Maggie raises her legs, her thighs pressing against his hips. She wraps her arms around his torso, her hands running up and down his back. Stefan Jr. repositions himself, his cock and balls sliding against her folds, then raises his pelvis up just enough to move his hand from her stomach to his member, maneuvering his penis so that its tip sits at the entrance to her vagina. He moves his hand back up to her side and they just look at each other for a long moment. Then Stefan Jr pushes down and forward, sheathing himself inside her.

As gently as he can, Stefan Jr pushes through. They each gasp as Stefan Jr fills her. On instinct, Stefan Jr pulls part way out again, only to thrust back into her. As he moves within her, he marvels at the feeling of her sex around his cock, the way she clutches at him, bathing his penis in liquid heat.

Maggie grabs Stefan Jr's shoulder with one hand, her other going down to clutch his ass. She rocks her hips in time with his thrusts, letting out a low grunt every time he bottoms out inside her. Stefan Jr kisses her, their tongues sliding against each other. He moves the arm beneath her, holding her chest against his, feeling her breasts press against him. His other hand moves to grasp her thigh, steadying her pelvis as he increases the power and speed of his thrusts. Their kiss ends and Stefan Jr buries his face in the crook of her neck, her hand on his shoulder coming up to hold his head.

They kiss each other to muffle their groan or even cry. She gives him a control of the passionate kiss as their lips slide and suck at each other, the tip of her tongue fencing with his until she grant it access to her mouth where they wrestles in a sensuous massage while he has been still penetrating her. One of her hands worm into his hair, cupping the back of his head and he mirrors her action as he tries hard not to hurt her too much. His fingers find her hair, lustrous, soft and silky as they slide through it. His other arm wraps tighter around the small of her back, pulling her tighter against him, her nipple hard, hot little points that pokes against his chest, surrounded by the soft warmth of her breasts. She tugs lightly at his hair and he breaks their kiss.

She stares down her body, seeing his attack. She groans afterward. She starts to groan louder then cries but she buries her face against his chest to muffle her cry.

They move together as one but she can't muffle her cry so long. Stefan Jr groans, his back arching and his head dropping back as he drives into her. The smooth skin of her inner thighs slide along the outside of his as she draws her legs up and wraps them around him as his pelvis meets hers and he is buried completely in her intimate core. He drops his head as he forces himself to relax, panting heavily with the effort as his balls boiled with the need for release.

MAGGIE MOON  
You should think of baseball statistics.

...and he bites his lip as the vibration of his chuckle shifts him in the tight embrace of her sex. He places a finger lightly over her lips...

STEFAN JR.  
Shhhhhhh.

She opens her mouth and sucks his finger into her mouth before he can remove it. It's wet warmth matched, yet can not equal the deliciousness of her sex, but it doesn't help his composure as his dick twitches and the small of his back tightens.

MAGGIE MOON  
You know I haven't yet.

STEFAN JR.  
Yes, I can control it.

Her hands leave his buttocks and strokes lightly up and down his back in a light, soothing touch. He lets his forehead rest lightly on her chest as he concentrates on his breathing.

STEFAN JR.  
I can do it.

Stefan Jr inhales, exhales, concentrating and accessing into the controls of his lungs, his heart and his neural network. Successfully, he extends limitation of his climax. He turns to be like he has just entered her for the first time. She cries satisfactorily as he thrusts in and out of her sex.

After that first moment of an immediate sexual intercourse rebooting, Stefan Jr begins making love to Maggie Moon again with full power like a computer that was just turned on. Her flesh fights his invasion with the sweetest of resistance, clutching and squeezing at his rock hard shaft, adding to the friction of his passage as he fills her and she stretches to accommodate him. Her flesh drags along his shaft with molten heat and massaging pressure.

MAGGIE MOON  
(groaning)  
Oh! I like all this.

The aroma of her arousal hits his nostrils and they flare as he inhales deeply. Her thighs are silky as she draws up her legs and they slide along his sides, her toes tickle the outside of his thighs. He grabs her legs and spreads them, maneuvering them past and then over his shoulders, her calves and heels rest on his back. He thrusts forward, and at the same time let his weight shift forward and down, pressing her thighs back and her knees toward her chest. He doesn't even attempt to stifle the groaned cry as he slides into her tight embrace. Her sex grips him like a velvet covered vice, which he forces apart in order to forges a tingling, sparking trail of delectable friction to her snug, molten core.

She smiles up at him and her hands slide down his back; her fingertips leaving tingling trails that make his muscles twitch. Her fingers find the tense globes of his ass cheeks and clench around them, pulling him toward her. He grunts and it mixes with her sharp gasp as he thrusts forward and slides into her.

His breathing becomes heavy as he slides himself in and out of her, he is gonna near the climax. She sees him grunt, groan, cry and gnash but she likes this much.

MAGGIE MOON  
Oh! Fuck me harder, please.

Her hands reach for his face and he doesn't know if his control will withstand her touch, so he intercepts them, grasping her wrists. Her hands don't stop and she resists him as he pushes against her.

MAGGIE MOON  
(screaming)  
Oh! Fuck me harder.

He does as asked.

STEFAN JR.  
(whispering)  
Oh! Are you near it?

MAGGIE MOON  
(murmuring)  
Yes, yes. Do it.

Maggie Moon pinches on the bed as he hardens and fastens the penetration, pushing himself deeper inside of her. She flinches biting her lip to keep from gasping because a movement that is not missed by Stefan Jr but he does not stop, he grasps her arms with very little pressure.

MAGGIE MOON  
(moaning)  
Harder!

His hands grip her harder as he fucks her harder.

His face moves up to hers, his tongue caressing her lips and the inside of her mouth. She closes her eyes tightly, grabbing and scratching at his back.

Stefan Jr rolls over, pulling her on top of him. Their bodies never disconnect. They are one. She sits up on him, his full 9 1/2 inches going deep inside of her. She sobs and leans down to kiss him.

STEFAN JR.  
(whispering)  
It's okay.

He takes her hips firmly in his hands and bounces her up an down. Maggie sighs happily.

STEFAN JR.  
I love you, Maggie. I still hope that  
this may give you the most happiness.  
I love you more than my life.

She smiles. Stefan Jr's hands let her go. But then he rolls over, pulling her onto bed again.

His balls are already boiling, his control hanging by a thread. Her hands reach for his face and he doesn't know if his control will withstand her touch, so he intercepts them, grasping her wrists. Her hands don't stop and she resists him as he pushes against him. The struggle shifts him inside her and he grits his teeth as the shiver of pleasure the simple shift causes snakes up his spine. He pushes harder and suddenly her resistance vanishes and he presses her wrists and arms onto the bed.

Stefan Jr is breathing heavily through his nose, his face poises over hers, her eyes half-lids and partially hiding her usually intense and unwavering stare.

With, a grunt, he starts to pound into her. His strokes are short, fast and powerful. He sees her pearly white teeth dig into her lower lip so hard, he is surprised she doesn't draw blood as her back arches, pressing her torso up to meet his. His flesh collides with hers in a staccato beat so fast the shock wave of one-collision merges with the next. The sound merges with the rhythmic creak of the bed and their cries and his fingers slide from her wrists to link and tangle with hers.

Then it happens, she cries out in pain so loud. She is very close to that point and doesn't want this to end unsuccessfully. So, she lifts her hips up to meet his fast and strong pounds.

He doesn't strive for control, but simply strains for release and it isn't long in coming. Stefan Jr feels his hips stutter with fast rapid-fire thrusts stabbing at her sweet core, grinding against her trying to get deeper.

INT. OUTSIDE OF MAGGIE'S AND STEFAN JR'S ROOM – SAME TIME

SARAH REESE and KYLE REESE walk down the corridor together.

SARAH  
This isn't too hard for me, Reese. At this point,  
I won't be more surprised with all these miracle  
scientific things. What do you think?

KYLE  
Hard to say. The man and woman from the future  
can be very good soldiers along this mission.  
If they are right to travel back, maybe this  
will be what I was supposed to do at first.

SARAH  
Oh! Kyle. You just reminded me of what happened  
to your other previous self. He died protecting  
me from a terminator sent back to kill me.

KYLE  
And you don't want that happen?

SARAH  
Yes. I love you. I always have.

Kyle holds his hand up, he's being sworn in.

KYLE  
I love you too, my princess. I swear to God.

Sarah starts to chuckle with that.

KYLE (cont'd)  
I will build up a warm family with Sarah Reese and  
live with her forever. If I reverse my oath of  
calumny, please kill me with what I should be by.

Sarah chuckles happily and locks her eyes with his.

SARAH  
I think you won't reverse it. I trust you.

Then they kiss each other happily and gently.

KYLE  
Let's go. It's time for sleep.

SARAH  
Yeah, I think so.

They start walking together again.

They stop outside the couple's room and hear unmistakable sounds coming from inside. A few grins ensue amongst them and they look embarrassed as they hear the cries and moans and the squeak of a bed inside.

KYLE  
(funny)  
What's happening in there?

But Sarah quickly shoves Kyle down the corridor.

SARAH (cont'd)  
It will be happening in our room too.

And they laugh.

INT. MAGGIE'S AND STEFAN JR'S ROOM – SAME TIME

Maggie Moon screams painfully, sexually, happily and completely. She climaxes and lets out liquid that makes him swerve into her harder, faster and stronger.

He throws his head back and bellows with the white hot surge of pleasure that blazes through him like a napalm inferno that tenses his back into a taut bow, his vertebrae grinding together with the tension while his hips continued to buck. His climax sears across his nerves, overloading his senses and causing his world to shrink to the single pinpoint of overwhelming sensation. His chest was on fire and his heart feels like it will burst as his dick convulses and he pumps his seed into Maggie in heavy, draining spurts. His cry becomes a series of grunts connected to each of those spurts, her sex squeezing against him as he expands before each one.

Stefan Jr collapses on top of Maggie, panting, desperate for breath, twitching as stray electric charges of ecstasy tweaks overloaded nerves and makes muscles misfire. His eyes are closed, his face buries in her hair above her shoulder, it's almond and honey scent mixing with the musk of sex. Her fingers go slack, but it takes him a moment to realize the significance and do the same. She is so perfect with this.

MAGGIE MOON  
I love you too.

Stefan Jr moves his face up, smiles and bends down again to kiss around her face. A few tears of happiness run from her eyes. Stefan Jr kisses the salty tears from her cheeks and slides off of her. He lies down behind her on the bed, but she rolls onto her side to face him. They continue to hold onto each other.

STEFAN JR.  
Maggie, I...

MAGGIE MOON  
No.

She puts her fingers to his lips.

MAGGIE MOON  
Don't say that you feel sad to do all this.  
Don't think that you was hurting me. It was  
what I have waited...

STEFAN JR.  
But I...

MAGGIE MOON  
Shhh! I wants to sleep. We both are tired.

Stefan Jr smiles.

STEFAN JR.  
Okay, sleep.

Stefan Jr just pulls her closer to himself placing a kiss on her lips. They lie naked on this small bed, holding each other.

INT. PREECHA'S BUNK – NIGHT

PREECHA SINGHMAK bunks in a one-time closet about the same size of John's Holding Room in F03E01 is. There are two small bunks and one trunk. Only one bunk has bedding on it and the bedding is MICHAEL SINGHMAK(2), Preecha's son. The trunk is painted black with panther eyes.

Preecha loads a clip and chambers a round in his well-worn Glock (or other semiautomatic pistol). There is a knock on door, so he puts down the gun and turns to it.

PREECHA  
Come on in.

The door is opened by E. Boykins.

E. BOYKINS  
(in Thai)  
"You look better."

PREECHA  
"It's really hard to manage."

E. BOYKINS  
"Yeah. I understand you."

Preecha nods and smiles faintly.

PREECHA  
"I can do this, Stefan. At first, my sister,  
Prapada was killed by machines. Micky was with  
me, encouraged me and strengthen me. But now,  
she's dead and I can't help her. I can't help  
all my sister, my parents and even my own wife.  
I can understand all this. It's usual."

E. BOYKINS  
"I heard her case from the doctor. There is  
a way to cure but there were so many people  
want it. She told the doctor that she never  
wanted it anymore and she wanted that doctor  
to cure those people before. You should be  
proud of her. This is a good sacrifice."

A couple of tears stream from Preecha's eyes.

PREECHA  
(sadly)  
"I know."

E. Boykins sits down beside him.

E. BOYKINS  
"And if I were her, I would never want to  
see you crying with sadness like this. The  
life is to be continued. You must continue  
living because you still have your son. The  
innocent boy who has been on world just for  
2 years, he still needs his father. His mom  
is dead so please don't let his father die."

Preecha quickly looks at E. Boykins who gives him a small smile.

PREECHA  
"How did you know I want to?"

E. BOYKINS  
"I'm sleeping, my friend. My soul is strong during  
sleep. I can keep watching your activities here.  
I apologize, Colonel. I have been watching you."

PREECHA  
"Hmm! Thank you so much."

Preecha reaches his hand and grabs the gun.

E. BOYKINS  
"Pull it out. Everyone here needs you.  
Your son needs you. You have to live."

Smart man. He's got him. He nods, reluctantly. He pulls a magazine out of the gun and hands it to E. Boykins.

PREECHA  
"Okay. Thank you so much, buddy."

E. BOYKINS  
"From now on, you change."

E. Boykins throws a gun away toward the corner of room.

E. BOYKINS (cont'd)  
"Nice to meet you, new Preecha Singhmak.  
Maybe I should introduce myself at first."

Preecha smiles funny.

E. BOYKINS (cont'd)  
"My name is Warapop Pichitchai. Nickname's Stefan.  
I am also known as Enigma E. Boykins. I'm 27 years  
old. My fater's name is Anongsak Pichitchai and my  
mother's is Yonlada Pichitchai. What about you?"

Preecha stares at E. Boykins' happy look. Then he chuckles.

PREECHA  
(happily)  
"Okay. I am Colonel Preecha Singhmak. Nickname's  
Pond. My sister is dead, her name is Prapada.  
My mother's name is Penpitcha Singhmak and my  
father's is Thunyaboon Singhmak. I'm also 27."

And then they shake hands and smile to each other.

PREECHA  
"Nice to meet you, Mr. Pichitchai."

E. BOYKINS  
"Nice to meet you too, Colonel."

And they both laugh again but still keep their sounds low because Michael's sleeping.

PREECHA  
"What do you think to do after we win Skynet?"

E. BOYKINS  
"Why are you so sure we're gonna win?"

PREECHA  
"I don't know but I just think that we should. Skynet  
ends. That robot won't birth and we'll be safe."

E. BOYKINS  
"Skynet had so many cores installed around the world.  
It was ready before Van Meter presented it to USAF."

PREECHA  
"So be it. How could we win it?"

That question convulses with E. Boykins' thought. He's got new idea, he looks at Preecha with a smile. Preecha smiles back.

E. BOYKINS  
(gladly)  
"Oh! Thank you a lot, my friend. Do you really wanna  
tell me that we can win it with co-operations around  
like Skynet did?"

PREECHA  
"No. But your idea is very resemble to mine.  
And I think yours will be better."

E. BOYKINS  
"And we still need a mimetic poly alloy."

PREECHA/E. BOYKINS  
Weaver.

They laugh again but this time, they get cocky. Their sounds completely wake Michael up. He cries. They quickly turn.

E. BOYKINS  
"I think I should go."

E. Boykins stands.

PREECHA  
"You also make him cry. Help me."

E. Boykins gives him a friendly smile one last time as his image slowly fades in the air. It's like many agglomerate molecules separate, shrink, and then dissolve in the air.

PREECHA  
(murmuring)  
"Friend indeed."

Preecha shakes his head and turns to his son, trying to lull him with a fatherly hug and a song.

INT. MR. AND MRS. PICHITCHAI'S ROOM – NIGHT

E. Boykins opens his eyes. Allison lies beside and slightly on top of him. Her head resting on his shoulder and one hand laying above his heart. E. Boykins reaches up and casually runs his fingers through her brown locks of hair on her head.

E. BOYKINS  
"How can I say, my heart? I'm so proud of you.  
Only one girl has no hard feelings to me."

E. Boykins smells a lock of her hair. He feels it so fragrant.

E. BOYKINS (cont'd)  
"I know you have been thinking much about how  
to protect me, how to be so useful to me and  
how to become a great wife of mighty psychic."

E. Boykins gently puts her down to the sofa and stands up, out from her.

E. BOYKINS  
"I just wanna say that you don't have do  
anything for all those because you are so  
useful to me. You are my heart already."

He controls his legs with his mind to kneel down in front of her and his wheelchair slowly moves toward him from the corner of room. Yes, he controls it.

E. BOYKINS  
"My good wife, thank you."

As quietly as he can, E. Boykins puts on the clothing he hastily removed the previous early night. Pulling on his shirt, E. Boykins looks at Allison sleeping peacefully. She looks so beautiful in her slumber. At absolute peace.

E. Boykins clears her hair out of her face and gently places a soft kiss on her forehead. He stands and sits down on his wheelchair, pumping it out of this area.

**END OF ACT 2**

* * *

**ACT 3**

**(Sarah's last sexual intercourse)**

INT. MR. AND MRS. PICHITCHAI'S ROOM – CONTINUOUS

He pushes forward, pumping the wheel of his chair to the outside of bedroom. When he reaches that room, the door opens and the light is turned on by his mind for him. He pumps into room. He continues toward his son and his daughter sleeping peacefully. Their breathings are normal. Nothing bad happens to them both.

E. Boykins fondles Sittipong's little soft black hair. He is so happy to do this. His eyes turn to focus Orwell as well. He so gently touches her cheek. Never want to wake them both up. His love for them never changes. He loves them more than his life. Seconds he's lived here makes him happier. He smiles, sighs and gently kisses on Sittipong's then Orwell's forehead.

He reaches out to grab a blanket near Sittipong's head and puts it to his lap.

E. BOYKINS  
(whispering)  
"Good night, Sam. Good night, Orwell."

He turns the wheelchair and pumps out of the room where the door slowly and softly closes behind him. The light dims and then switches off.

He pumps toward where Allison sleeping peacefully. He gives her a quick kiss on her cheek and slowly blankets her. He caresses her face as he keeps his eyes on her. One hand, touches her hair.

E. BOYKINS  
"Good night, Allison."

E. Boykins crosses his arms over the edge of the sofa, bends his back and drops his head to sleep near her.

INT. APARTMENT - NIGHT

The room is a tiny CUBICLE, prison cell meets 747 bathroom. Narrow cot, wall-screen droning away in the B.G. -

THAI NEWSCASTER  
"Today, our new king, Jupiter Godon had first  
meeting with Dr. Art-ong Jumsai Na Ayudhaya.  
He inserted piece of metal into the scientist  
then the meeting got pass easily. Our king said  
before he went that: "we will control everybody  
around the world. I will bring freedom to all of  
you. Good luck to everybody around here."

COLONEL KIM YOUNGCHUN laboriously pulls his pants off. He looks serious with that news. COLONEL HIKARU CHINTAI and COLONEL WANG PICHAO walk from the bathroom, shutting the television down.

KIM  
I hate this metal.

WANG  
We have to search for our psychic General.

KIM  
Are you sure that he hasn't been hypnotized yet?

HIKARU  
I'm very sure. Our agents report that Colonel  
Preecha, E. Boykins, John Connor and friends  
could run from Jupiter and also capture Weaver  
back with them. There were a man and a girl  
helping them. We should find them before.

Kim steps forward.

KIM  
What if we turn to another place else?

HIKARU  
What?

KIM  
We're in Chiangmai, right? What if we go  
abroad our ships to our lands for more men  
and go to USA for another plan?

HIKARU  
Which plan?

KIM  
Plan to travel back with TDE there.

WANG  
Why are you so sure that they don't destroy  
every TDE for the good of our world?

Both look at Wang.

KIM  
Why don't you think that they may learn how  
to build a TDE before destroying them all?

WANG  
Good idea.

KIM  
So we should go up to our land.

HIKARU  
I'll tell my men. You both tell yours. We must  
get through the Lao border line today. I hope  
that Wang's men are still near beach for our  
transporters. We may have to go before this  
morning as well, my friends.

WANG  
They are all ready. Your Japanese and  
my Chinese soldiers have been waiting.

KIM  
So. We gotta go.

Kim, Wang and Hikaru get out of the apartment.

INT. MR. AND MRS. REESE'S ROOM – NIGHT

Their bodies collide before the door even clicks closed. Her hands are quickly pulling his shirt over his head. Their lips part and...

SARAH  
(hissing)  
I need you.

He tugs her hair back gently, gaining access to her neck.

KYLE  
I want you.

He nips at her flesh. His other hand makes its way into her pants and slips between her folds.

She gasps at how rough he is being this time. He has always been so tender, so attentive.

SARAH  
(whispering)  
Don't stop.

Her body is on fire and she aches for him.

He slips a second finger into her. His pants are becoming unbearable tight, but taking care of her is the first thing on his mind. He pushes her back against the wall as his fingers assault her.

Her nails dig into the flesh of his shoulders as she fights to keep her legs from buckling. She can feel herself reaching the edge. This aches need for a man to be inside her.

SARAH  
(hissing)  
Want you...

He silences her with a hard kiss. His tongue slips past her teeth, tangling with hers. He grunts into her mouth. He growls as she tightens around his fingers.

SARAH  
That's it, baby.

Lights explode behind her eyes as she comes hard. Her legs are trembling with her release, but he doesn't stop. She feels his body pull away from hers only to tug her jeans and panties down her legs.

Once he's rid her of them, he is on his knees. His mouth and tongue lapping at her juices. He flicks his tongue across her sensitive, throbbing nub. Her hands are now in his hair, tugging gently at first. He smiles against her folds.

Her hands move to the back of his head, pushing him against her warm, wet center. He pulls back and looks up into her eyes. Seeing the need there, he moves his mouth back to her, sucking gently.

Moments later, unable to fight the bulge in his pants any longer, he moves his mouth quickly up her body until his mouth collides with hers once again.

She can taste herself on his lips and she bites his lip in ecstasy. She can feel him fumbling with his zipper on his jeans. Reaching out to help, he catches her hand and moves it above her head. She smirks.

KYLE (cont'd)  
What?

He lifts her leg against his hip.

SARAH (cont'd)  
Nothing.

She draws his mouth back down to hers. She feels him thrust into her with one hard push. She growls low in her throat:

SARAH  
Fuck.

He then buries his face into her neck as he pounds into her. Her other leg is now around his hip as his thrusts become slower. The pace changes. He slips his hands behind her back and moves them slowly onto the bed, still sheathes deep inside her depths.

And as quickly as the fast, intense heat has started, he is now making love to her with every intention of giving her everything she has ever expressed enjoying when they has been intimate like this.

Unable to contain himself any longer, he slowly nudges her legs further apart with his thighs and withdraws his dick with a flourish. The look on her face must have been reminiscent of taking candy away from a baby, because he chuckles, before slamming back inside her with an earth-shattering intensity. Her breath hitches as he pulls completely out again, before crashing back into her. Kyle repeats this maneuver fifteen times before he slowly slips his fingers into her inner lips as moans of pleasure emit from her in her pleasure-filled haze. All his touches are like the older Kyle ever did to Sarah, this one has been going so differently and yes, she likes those sexual activities.

He slides his cock all the way inside her again, slowly caressing her clit as she quivers from his touch. Kyle completely fills her and his thrusts has stopped as his fingers glid over her cunt. She is reflexively huntching against his fingers. She is on cloud nine. And Kyle is smiling down at her with a look of love unequals in their year of acquaintance.

KYLE  
Are you happy having sex tonight?

She blinks once in response which illicits a mad, glorious thrust from him and before long, he is wildly moving inside her. A major orgasm overtakes her as he releases inside her. They can't move for a few moments, content to lie in their own bodily fluids, gasping for breath. They automatically curl together as their bodies recover from their amorous activities. Kyle sighs.

SARAH  
What?

KYLE  
Vaginal parfait.

She raises up on one elbow and looks down on his smirk.

SARAH  
Excuse me?

He shifts his body until his lips are lightly kissing along her thigh as his finger again finds and slowly caresses her pussy lips. As his mouth reaches her suddenly pounding and throbbing, still moist pussy, he spreads her wide with his fingers as the tip of his tongue encircles her clitoris. After several long seconds later, she has no concept of time, he slides his tongue down and inside her pussy to taste her essence.

Kyle pulls away for a moment.

KYLE  
Your sweet nectar, a veritable 'vaginal parfait'.  
I can't live without you, darling. I need you  
with me for all time.

Then his tongue delves deeper into her pussy. Kyle's dexterous fingers diligently rub her clitoris a little faster and harder as Sarah tightens muscles, cumming once again all over his tongue.

He gently cleans her juices with his tongue, then raises up and slips his body between her legs as the head of his cock rests at the opening to her pussy. He leans down and kisses her deeply. Sarah tasts her own.

SARAH  
vaginal parfait.

...as he has dubbed it, on his mouth and tongue. She can taste the essence of him mingles in her own as well.

She is totally surprised he is ready to go again. But then Kyle always has the stamina of a horse, but this time it feels different, unlike older Kyle in motel room with Sarah that night. His desire seemingly is ferocious and feral. And Sarah can never get enough of him.

He slides his cock all the way into her again and she raises her hips to meet his.

A wicked scream of pleasure escapes her throat as they kiss, they move together as the head of his cock hit the deepest depths of her, both of us driven to ecstasy, feeling as if we has become one with each thrust and tightening of muscles. Sarah moans and racks her nails across his back in sheer pleasure as he leans down to take one of her nipples into his mouth, sucking, nibbling it as they move together toward completion of our erotic dance.

Waves of orgasms wash over them and they come in an explosion together. Sarah may feel as if they are floating off on another cloud, then as the throbbing of his cock subsides, Sarah slowly returns to Earth finding herself in the love of her life's arms. As he's slowly slipped himself from her pussy, they are laying on the bed as Sarah kisses his chest, slowly moving downward to his awaiting cock as she licks their combined moisture from him.

Sarah begins to suck him into her mouth, but his hand stops her.

KYLE  
(murmuring)  
No more, my love...Pleasure overload.

She slithers back up his body settling in the crook of his arm. Sarah lies her head on his hairless chest and her hand caresses his gently sloped stomach. Kyle sighs again as they both smile.

SARAH/KYLE  
You are wonderful, my love.

They both chuckle. Then as we slowly zoom out, they both fall asleep.

EXT. PSYTECH CORP – NIGHT

A car pulls up next to two soldiers.

Around them people are stacking and sorting weapons. Crews of Soldiers are standing in formation.

Getting out of the car...

JUPITER  
Lead me, soldiers.

SOLDIER  
Yes, sir.

Two soldiers lead Jupiter the way into the building of Psytech Corp. The one looks a bit like Zeira Corp, only few things are different. It has Psytech logo, just 14 stories and the whole building doesn't look very modern like Zeira Corp.

INT. PSYTECH COMMUNICATIONS - NIGHT

The communications room is at one time the motor pool and has Psytech logo on walls. Two stacks of equipment dominate one wall. There are chairs and a table allowing for conferencing on the air. CAPTAIN TRIPOOM mans one of the equipment stacks. CAPTAIN SUWAN waits impatiently as two gaurds and JUPITER enter.

JUPITER  
What do you have tonight, Captain?

They both quickly turn and salute at Jupiter.

CAPTAIN TRIPOOM  
We got an emergency communication message  
half an hour ago, sir. Our men found their  
sentries. We can consider their location.

JUPITER  
Where are they?

CAPTAIN TRIPOOM  
Only guess, sir. Ranong, southern Thailand  
near the border line to Tanintharyi, sir.

JUPITER  
The border line?

CAPTAIN SUWAN  
Myanmar and Thailand.

JUPITER  
No. I didn't mean that. I already knew it.

CAPTAIN TRIPOOM  
Your majesty, according to the message we  
got, there are still men serving under them.

JUPITER  
Men? How could have they?

CAPTAIN SUWAN  
6 months after the last battle on Asian lands,  
some of men and most of all cyborgs who weren't  
with General Boykins in USA were conscripted to  
repair and continue the construction of big dam.

JUPITER  
So some men and cyborgs have been from all this?

CAPTAIN TRIPOOM  
Not just that, sir. After the battle, some  
machines have still survived and regrouped  
around Mon state and Dawei. They might be  
captured and reprogrammed by them.

There's a slight pause.

JUPITER  
So prepare me all forces you have. All humans  
attack the sentries. Cyborgs and endos go  
directly toward their location. Go.

They both quickly salute.

CAPT. TRIPOOM/SUWAN (cont'd)  
Sir.

Then they leave the room.

CLOSE ON JUPITER as he smiles subtly.

FADE TO BLACK:

EXT. STEFAN JR'S TENT – EARLY MORNING

The sun is rising in the east. There is a guard here, he's a wounded T-800 cyborg with one RSB-80 on his arms. He looks around, insuring against dangers.

INT. MR. AND MRS. PICHITCHAI – SAME TIME

Allison wakes up and sees him sitting asleep near her. This is a bit surprised for her this morning.

ALLISON  
Stefan.

He looks up, still sleepy.

E. BOYKINS  
What's wrong, Allison?

ALLISON  
What happened? Have you slept?

E. BOYKINS  
Just a few hours before you wake. Orwell  
cried every three hours. I needed to wake  
and calm her down before you would wake.

Allison's expression changes to one of sympathy.

ALLISON  
Oh! Stefan, I'm sorry.

E. BOYKINS  
No. I just don't want you to be tired.

More concern and sympathy are etched on her face.

ALLISON (cont'd)  
And what about yourself? You look so tired.

E. BOYKINS  
I've not been dead yet, Allison. It's blow-off.  
You'd have slept for yourself. You lost around  
30 millilitres when you are on your period and  
you need rest and good food. Yesterday, you had  
eaten junk food. So I should let you sleep much.  
Your body wouldn't be so tired.

ALLISON  
But not like this, Stefan. I'm your wife, not  
a goddess. You shouldn't have had to do this.

E. BOYKINS  
I'm a man. I have durability. Okay, forget it.  
I'll have slept for another hour before. If you  
really wanna help, please make sure everything  
is packaged into the leather bags.

ALLISON  
Okay. So sleep.

Allison stands from the sofa and is about to move but E. Boykins grabs her left hand, keeping eyes to hers.

ALLISON  
What?

E. BOYKINS  
I think you forget something.

Allison thinks. E. Boykins still looks into her eyes. With just ten seconds, she can realize it and then she gives him quick pecks on both side of his cheeks. He smiles happily.

E. BOYKINS  
That's what I want.

He lets her go. He moves onto the sofa and lies on it while she is moving into the bedroom.

INT. THE CONNORS' ROOM – SAME TIME

John and Cameron lying together, John holds her in his arms for the longest time, enjoying the warmth of Cameron's body against his as she snuggles against him. John opens his eyes, feeling today is so amazing. In his embrace is really the one he loves and have come to this future and have tried hard to be her pride, making her returning to him.

JOHN  
Oh! My cyborg, you are so beautiful.

Cameron doesn't wake. He just wants to look at her, doesn't wanna leave from her embrace. John kisses on her shoulder then up to her right ear and then her right cheek.

JOHN  
I'm sorry for that day I left you for Riley.

John kisses on her temple.

JOHN  
It's my mistake. I just didn't know how you really  
felt to me, it was a computer game or the logic  
error in the core of your chip that created you  
the thing call 'love'. Stefan was right. I'm very  
selfish. I hadn't cared about you when you needed  
me so much like that. I'm so sorry.

John casually runs his fingers through her brown locks of hair on her head. In fact, she doesn't differ Allison. But he still feels difference. However, he never feel anything with Allison like he feels with Cameron. This is very good and Stefan wouldn't have to kill John to get Allison's heart, it's fair enough. John thinks and he slowly kisses around her body during her deep slumber.

Finally, when he is about to kiss the crook of her neck, she wakes up and turns to look at him with a good-morning smile.

JOHN  
Good morning, Cam. How's your night?

CAMERON  
It's moving in my belly.

JOHN  
What?

CAMERON  
John, I'm very sure I'm pregnant but it  
seems weird. I can't explain at all but  
it has been moving in here.

Cameron's hand flows to her stomach. Eyes on John. John slowly reaches his hand, his hand moves to the belly and gently rubs the spot where it must have kicked her. John smiles oddly. He feels very amazing.

JOHN  
Moving.

CAMERON  
As I said, right?

JOHN  
Yes. It's so gentle. But there must be  
something so wrong. The baby must not  
have grown as fast as this.

CAMERON  
Or anything else inside me?

JOHN  
Can't really tell, Cam. We have to go.  
Maybe Stefan or even that psychic can  
help us. We need an scientific advice.

John releases his hand from her belly.

JOHN  
Get dressed, Cam. I'll make you sandwich.

CAMERON  
Okay, John.

They both immediately stand up.

INT. JOHN HENRY'S LAB – SAME TIME

John Henry's lab is high tech and also is an underground lab. John Henry still has his cord connecting to the back port. John Henry and Mia are staring at the monitor showing the scan of Catherine Weaver's system. The whole is all blue, only some spots are red but they slowly disappear.

MIA  
How much time?

JOHN HENRY  
In a few minutes. Then I'll recheck it. I can access  
it all but we have to override the whole before it...

MIA  
...restores itself on again.

JOHN HENRY  
Yes, this is only one way to reprogram her.  
Because of this body I've possessed, I have  
been able to program and delete anything on  
the mimetic poly alloy quantum neural system.

MIA  
Why don't you do this to that metal? Jupiter?

JOHN HENRY  
Jupiter can't be reprogrammed and can't be  
destroyed. I did a research with liquid metal  
for years, so I know how they work. MPA of my  
body is the same type with Weaver but Weaver's  
code isn't strong enough. Skynet ever planned  
to reprogrammed her with this avatar.

MIA  
But what I have seen now you are...

JOHN HENRY  
We have to delete the whole liquid metallic cells  
for the consummation of this advanced coding. I'm  
recovering at the same time too. Please stay quiet,  
Ms. Mia. I'm getting close to the central core cell.  
I need to sleep some functions to get all my memories  
and processors to work for only it.

MIA  
Yes, sir.

John Henry closes his eyes. The monitor running pictures and applications so fast. Mia is standing like a statue, keep her eyes on monitor just before it is shut down by John Henry's system after all.

A minute after John Henry has closed his eyes, the whole room sparks. It sparks again. Mia quickly looks around before looks back at John Henry, his eyes still close.

MIA  
Mr. Henry?

No response. The metal capsule of Catherine Weaver sparks.

MIA  
(louder)  
Mr. Henry?

WE SLOWLY CLOSE ON JOHN HENRY'S EYES...

MIA (O.S.)(cont'd)  
Mr. Henry, did you hear me?

JOHN HENRY'S EYELIDS move a bit before they open.

JOHN HENRY  
Lucky!

FULL SHOT: Both John Henry and Mia turn around to find the capsule's door slowly and automatically openning, revealing a silver female mimetic poly alloy figure sitting inside with tubes connecting around the mercury liquid body.

C.U. THE SILVER FIGURE: her body changes rapidly to be CATHERINE WEAVER, the mother of John Henry. She is pleased. Looks quite like the former CEO of Zeira Corp.

CATHERINE  
I'm back.

They all smile happily.

**END OF ACT 3**

* * *

**ACT 4**

**(Sarah's surprised death)**

INT. JOHN HENRY'S LAB - DAY

John Henry and Mia are working on Cameron's pregnancy check. John Connor is sitting beside her and holds her hand firmly in his. Mia draws blood from Cameron's other arm onto a small glass plate which she hands to Weaver who watches it through the microscope. Catherine starts to drop solution for test on the plate and look through microscope.

JOHN  
(to John Henry)  
If she is pregnant, why is it so fast?

JOHN HENRY  
I don't know.

CATHERINE  
Maybe because of the way that Cameron  
was ever in the eugenic experiment.

JOHN HENRY  
Possibly.

JOHN  
I thought that it would be good to Cameron.

Catherine drops another and looks through it again.

CATHERINE  
Cameron!

Cameron sits up and everyone looks at her. Catherine leaves her microscope and stands. She gives Cameron and John a big smile of real felicitation.

CATHERINE  
Congratulations! Cameron, you are pregnant.

With that, both John and Cameron look so glad. Especially John, he turns and hugs her closely and gladly.

JOHN  
(so exultingly)  
Hooray! Cameron, you are pregnant. You pregnant.  
My wife's been gestating. My love is pregnant.

Cameron starts to feel cramped of his firm hug.

CAMERON  
Oh! John, I think you should let me go. Oh! My  
love, let me go first. I can't breathe now.

JOHN  
Oh! Sorry.

John stops and lets her go. They look at each other, keep their eyes to each other's. John gently touches her cheek, breathing fast with gladness.

JOHN  
Oh! Cameron, I'm so proud.

CAMERON  
So am I, John.

JOHN HENRY  
But...

They quickly turn to John Henry.

JOHN HENRY (cont'd)  
But about Cameron's weird symptom?

CAMERON  
We need ultrasound.

E. BOYKINS (O.S.)  
Said who, Cam?

Everybody turns to find E. Boykins with Orwell and Allison with Sittipong entering the lab. MARCUS YOUNG, Sarah Reese, Kyle Reese, Maggie Moon and Stefan Jr follow them. Their expressions are all congratulations.

E. BOYKINS  
We don't need any ultrasound because  
we already have had super scanners.

CAMERON  
Super scanners.

E. BOYKINS  
My mind can get through everything. It won't  
effect your belly or even your baby inside.

JOHN  
Sounds great.

STEFAN JR.  
And I can too. Don't worry, Mrs. Connor.  
We shall do it with all our abilities.

E. BOYKINS  
(to John)  
John, I'm not gonna take liberties with your wife.  
(to Allison)  
May I touch other girl?

Allison and John chuckle at E. Boykins' concern.

ALLISON  
(with a laugh)  
This case is exception. Never mind, Stefan.

JOHN  
Do what you need to do.

E. BOYKINS  
Okay. John, come and get Orwell.

John nods, steps forward and gently holds Orwell from E. Boykins' embrace. Everybody gets their attention at what E. Boykins and Stefan Jr are gonna show them.

STEFAN JR.  
Grand, you first, sir.

E. BOYKINS  
Exactly.

E. Boykins steps closer Cameron but he still concerns it anyway.

E. BOYKINS  
Cam, may I?

CAMERON  
As your wish.

E. Boykins lies his hand on top of hers, over her stomach. Allison stares hard at them. Cameron can see a bit jealousy beneath her eyes but Allison can handle it, she breathes. E. Boykins slowly and gently pushes Cameron's hand out of her stomach. He kneels down in front of Cameron and keeps one of his hand on Cameron's stomach. He looks up at Cameron.

E. BOYKINS  
I'm sorry for this.

CAMERON  
Never mind. You just do it for us. Please continue.

E. Boykins does the fingers-to-temple gesture, staring hard to the belly and concentrating his mind. He closes his eyes, feeling the inside of Cameron's stomach.

E. BOYKINS  
(murmuring)  
Interesting. Hmm! Very interesting.

JOHN  
What's in there?

E. BOYKINS  
(murmuring)  
Just wait. Almost done.

He inhales and exhales hard. Clears his mind.

E. BOYKINS  
(murmuring)  
Clearer vision.

E. Boykins nods.

E. BOYKINS  
(murmuring)  
Hmm! I understand them now.

CAMERON/JOHN  
Them?

E. Boykins opens his eyes, releases his hand from Cameron and from his temple, and he stands up, turning to face both John and Allison who have stood behind him.

JOHN HENRY  
What did you see?

E. Boykins smiles over his shoulder to John Henry.

E. BOYKINS  
They're very interesting.  
(to John)  
You have twin daughters. Strong and fast-growing.  
They are now like second month of pregnancy. Their  
brains are being developed. I have never seen this.

STEFAN JR.  
This is what it happened. And this is why you  
all would go back to Los Angeles faster in the  
timeline I and Maggie left.

JOHN  
So this wil happen but you never told.

STEFAN JR.  
Sometimes I forget things so easily. My brain  
works and overwrites itself very fast but I  
can recover all data as fast as I want too.

JOHN HENRY  
We have heard that a lot.

Eyes glance at E. Boykins.

E. BOYKINS  
Yeah, I did say.

CAMERON  
Anything else we should know?

STEFAN JR.  
(to Cameron)  
You will give birth in around three or four  
months after this. I can't remember it all.  
Oh! And you will eat like a sumo fighter.

JOHN HENRY  
Everybody, wait.

That gets everybody's attention.

CATHERINE  
What's wrong, John Henry?

John Henry's fear rises. He's agape. Stefan Jr's face also betrays a sort of fear/surprise. E. Boykins changes to be very serious.

JOHN  
What's happening?

E. BOYKINS  
They are getting close.

STEFAN JR.  
Our men just lost first level sentries.  
We should speed up charging of the TDE.

JOHN HENRY  
We must have plan for defence.

John hands Orwell back to E. Boykins. They exit the room. John only can support Cameron very carefully.

INT. MEETING ROOM – DAY

Everybody sits at a table in this austere room. In b.g stands a T-888 endo with a one-of-a-kind chest plug about the size and shape of a stack of eight U.S. quarters; and an R2D2-sized UTILITY HK.

On the table are laser pointers and wireless mouses. The wall has three large displays with a number of dead and stuck pixels. On one of the displays: a map of Bangkok with Thai military movements marked; another display shows a regional map of their positions from the dam to out in the mossy towns; the third, largest monitor shows the area around the dam. Marked are Stefan Jr's defenses as well as some of hypnos troops at the very edge of the screen.

STEFAN JR.  
Jupiter is very confident that this will be  
a decisive victory. We have only few hours  
to travel back but every jump needs time.

KYLE  
This place is going to be a slaughter. He will  
send wave after wave. There's nothing we can do.

STEFAN JR.  
We can't think that way because it's three days.  
We have had our force enough to resist the army.  
I and Mr. Young and John Henry have regrouped  
Thai reprogrammed force for almost two days.

E. BOYKINS  
No one here can kill that 2000?

STEFAN JR.  
I have planned, grand. My design of TDE has  
been upgraded from the same one uncle Glau  
and future scientists invented for our travel.

E. BOYKINS  
Explain. I know what you think but other need an  
explanation. What's the plan? What's the point?

That makes Stefan Jr become a deer in a spot light. He breathes.

STEFAN JR.  
Okay. My plan isn't that easy but if that  
T-2000 comes here, it will be killed by my  
TDE. Its liquid metal will be secluded and  
can't be joined perfectly anymore. According  
to older model, the electromagnetic power  
increases the abilities to work to all cells.  
These also resurrect dead but it'd be so  
dangerous about mind-blowing. It's not same  
where different when as before. If the time  
traveler don't have connection to each other,  
they'll appear in different where but still  
same time. Only one way I can explain more  
about it, that old also can't send MPA back  
through time like other previous versions.

E. BOYKINS  
And you have redesigned it.

STEFAN JR.  
I already have. But we don't have much enough  
power to unlock the most powerful functions.

JOHN HENRY  
So, the mimetic poly alloy is able to.

STEFAN JR.  
Yes. If my calculations aren't wrong, at last set  
of time traveling, we will unlock and open the TDE  
with all full functions. Our bombs will work then.

SARAH  
So do it as you've planned to do.

STEFAN JR.  
Anybody else have any questions?

No one wants to ask.

E. BOYKINS  
I think we should go.

STEFAN JR.  
I'll go to slow them down.

NEVLIN  
I'll turn on the TDE.

C.U. STEFAN JR'S FACE as he smiles.

STEFAN JR.  
It's our turn to attack hypnoses back.

EXT. MOSSY BATTLEFIELD – DAY

A T-850 has a smoking and glowing T-850 fuel cell in his hand.

T-850  
W-M-D!

T-850 throws the device as far as he can into the midst of the endos.

EVERY HUMAN and REPROGRAMMED ducks for cover.

BIG EXPLOSION that results in a small non-nuclear mushroom cloud.

Endos and Hks and hypnotized soldiers in the central blast are vaporized.- Those a bit farther out are fragmented but dangerous in that I'm-still-a-terminator-and-I-never-stop way. Those farther out still were knocked around, but quickly renew their attacks.

The T-850 looks at a T-888 endo near him.

T-850  
That was fun.

T-888  
Go and join the fight.

T-850  
You radio to Henry?

T-888  
I did.

T-850  
So go.

Then they move. The force behind them rise with their weapons, running into the great battle.

FULL SHOT: A plasma-streaked battle is fully engaged. Three dozen T-888s fire on twenty REPROGRAMMED and humans in the relatively open ground near the east battlefield.

Both sides sustain a lot of body damage, as chip-targeting-especially by the T-888s- isn't a prime strategy.

The battle turns under the belt. Hypnoses come more than reprgrammed. The fightings are so furious with plasma blasts and explosions. T-888s fight with each. T-850s rake their plasma rifles to the new coming force. Then the Thai air force has come and the whole battle squad of reprogrammed is destroyed by missiles and bullets.

A squadron of Fairchild AU-23A Peacemakers bomb around the sentry posts in this big mossy field.

The squadron of Thai air fighters flying lower, fire and head-splat machines on ground to clear the way.

BINOCULAR VIEW: The T-888s gather up weapons, the fallen Reprogrammed, and any detached parts. The T-888s carry the Repurp endos, traveling in single-file, west, away from us. The air force comes and binocs are lowered...

OVER HEAD, the squadron of Fairchild AU-23A Peacemakers bombs the whole place.

Many reprogrammed units has come from the south, firing plasmas up to defeat some air units of the hypnoses'.

Half of all new coming endos run into hand-to-hand fightings with the hypnotized units. Punches, raking, kicks, weapons using are useful and make all this to be the good delay.

EXT. MOUNTAIN CHAIN (AERIAL) – DAY

Below is the general battlefield in front of the Mountain. Several PLASMA CANNONs are FIRING into the valleys. Some are in stand-by.

In quick succession one, two, three PLASMA CANNONS EXPLODE with some very PYROTECHNIC SECONDARY BLASTS. The triangle of PLASMA CANNONS on the west side, on the other side of the mountain, and the PLASMA CANNONs stationed above the main entrance are now dead.

Still active at high hills are the PLASMA CANNONS on the east side of the mountain, and one on the opposite side of mountain.

EXT. SOUTHERN THAILAND BEACH – DAY

THE BIG SQUADS of reprogrammed endoes are fighting against a formation one of Royal Thai Navy with all weapons they can find. But the navy can win easily with their HTMS ships firing missiles onto the coast guards.

BOOOM! BOOM! The missiles attack around the posts. Everyone is running for their lives together with firing back but Navy air units and paratroopers with plasma guns terminate them all.

EXT. MOSSY BATTLEFIELD – DAY

The land is lush. Near the lake are large patches of flowering plants. In the distance, the PLASMA CANNON fires PLASMA ROUNDS down into the valley on the opposite side of the lake.

Hypnoses are running toward the battle stations of reprogrammed without fear and hesitation. They're very crazy.

The air forces are being cut down by a squad of Type 47 Nana-yons that the reprogrammed have gained controlled.

EXT. TOP OF RIDGE - DAY

Dozens of Endoskeletons have a marvelous view of a pitched battle.

In all three slopes up to this position, ENDOSKELETONS of all T-8xx models face off with reprogrammed troops climbing up from east mossy hill. The fight on the right is currently closequarter fighting between Endoskeletons and REPROGRAMMED.

TROOPS and BODIES are scattered on the floor of the Wilderness on the opposite side of the lake. They look like a colony of ants crossing in the valley. The ground is blackened starting from the lake shore-a PLASMA CANNON rains down

BOLTS into the hypnoses. Beyond East Land, heading toward the forest, reprogrammed have formed a thus-far impenetrable barrier to the advance.

On the mountain slope leading to the PLASMA CANNON, small groups are ascending. Glints of metal near the Plasma Cannon hint at the ENDOSKELETON SQUAD protecting the cannon.

At our current location on top of the ridge, the Endoskeletons don't descend into the thick of battle- they spread out.

EXT. EAST SLOPES - DAY

The fighting between reprogrammed and hypnoses is fierce. Metal vs Metal. Metal vs hypnotyzed humans. Think of the best Cameron vs Terminator fights and make it twenty times bigger.

There are few plasma shots. It's mostly hand-to-hand.

Many Cybrogs have very torn-up organic layers. A lot of their own endoskeleton shows. Some occasionally even flash BLUE eyes. Conversely, some of the Endoskeletons flash RED eyes.

Reprgrammed don't quite hold their own. While some T-8xx are defeated, more reprogrammed are incapacitated...and decapitated.

EXT. MOSSY RUINED CITY – DAY

The sun shines, telling that it's noon. The hypnos army walk in but then the buildings around them explode as traps.

Another squad of reprogrammed come from the south and get into a big fight of plasma gun firing, hands-to-hands and explosions.

Over head, a bomber comes and is about to bomb the places but it stops and falls onto ground nearby. And the new comer flying over head, Stefan Jr fires his plasma rounds down to enemy force before he faces two air bombers come...

STEFAN JR.  
(telepathy)  
The situation seems worse than I ever expected.  
I'll buy more time, Maggie. Send back first group.

He spins in the air and rushes through them and they explode, down to the fiery explosions on a squad of hypnos army below.

INT. UNDERGROUND TDE CHAMBER – SAME TIME

This is the same where with underground lab but the whole TDE is complete. Humans and cyborgs are surrounding the chamber. Four are at controls, working with 4D calculation workshop. Everyone wears leathers and has their leather packages. Only Catherine and John Henry have nothing. Maggie Moon has been doing the fingers-to-temple gesture.

MAGGIE MOON  
Just like that. Okay.

Maggie Moon lowers her hand, turn to find Catherine Weaver, John Henry and Preecha(with Michael) standing at ready.

MAGGIE MOON  
You go first. We'll send the rest in four minutes.

Catherine Weaver, John Henry and Preecha(with Michael) move onto the chamber platform.

MAGGIE MOON  
For safety, we have to send you first with low power.  
I figure that you will appear in the same place. Your  
liquid metal cells won't be destroyed. So please  
don't worry. Good luck. Bye and see you later.

Maggie Moon walks toward the main control and pushes on the green button. The bubble warps into shape around them, cradling the them in a sphere of possibilities.

SCIENTISTS  
Time jump in one, two...

EXT. MOSSY RUINED CITY – SAME TIME

Stefan Jr is on ground. He grabs a metal plate and throws it toward one T-888 endo, cutting its head off. Two endos come and punch him who quickly evade and kick one away. Stefan Jr pushes another with his mind power. Then he does gesture.

STEFAN JR.  
Maggie, how is it, right now?

The battle still continues in the north.

MAGGIE MOON (V.O.)  
The first group have traveled back.  
I'm waiting for the system reboot.

STEFAN JR.  
Well.

Stefan Jr. lowers his hand. He continues his fight. Two endos join him, fighting with hypnoses who come. Stefan Jr stares hard at a man who running toward him. That man falls asleep and drops. Stefan Jr. looks around and he drops when an air fighter lowers and fires around his way.

STEFAN JR.  
That's more like it.

Stefan Jr flies up into the air and quickly rushes toward the two fighters, his hands wave, his mind distracting their systems, causing them fall to the ground below. Stefan Jr returns but he stops as he sees...

...a large SQUAD fifty meters away who are making their way to the ruined city, asorbing small squads of reprogrammed machines around the land.

STEFAN JR. slowly lands on the roof of a small building, looking the view with an agape mouth. He rises his hand and does the gesture.

THE INTERCUT STARTS: UNDERGROUND CHAMBER AND STEFAN JR.

The Stefan Jr's team is about to fall back. He is flying back to the tent in the distance. Maggie Moon already sent Catherine Weaver, John Henry and Preecha(with Michael)back through time, now she's sending E. Boykins, Nevlin(with Sittipong) and Allison(with Orwell) back.

STEFAN JR.  
Maggie, I'm falling back.

MAGGIE MOON  
I'm sending them back. Two groups here.

STEFAN JR.  
I can't buy you more time.

MAGGIE MOON  
We'll fasten it.

STEFAN JR.  
Maggie, if I...

MAGGIE MOON  
No. It won't happen.

STEFAN JR.  
I'm getting inside our base.

Stefan Jr. lands on the ground near the tent. All guards get out and prepare their resistance.

STEFAN JR.  
(to a T-800)  
Destroy everything and everyone out here.

T-800  
Yes, sir.

Stefan Jr. enters just before two squards run into view. The defence system starts. T-800s quickly rake their guns around them. T-888s fire back plasma-blasts.

A chopper comes. Jupiter jumps onto ground. He leads the way to battle all T-800s guarding this tent.

There are few plasma shots. It's mostly hand-to-hand.

INT. ELEVATOR SHAFT - MOMENTS LATER

An elevator rushes down. It's going fast.

INT. UNDERGROUND TDE CHAMBER – LATER

With sirens blaring, there is not much time for them all. John, Cameron, Mia, Kyle and Maggie are standing on the platform.

Sarah, Marcus Young and Stefan Jr. come in the chamber.

STEFAN JR.  
Jump us back.

The scientist pushes on the button. The TDE starts working.

SARAH  
Let's go.

MARCUS  
Go.

The time bubble struggles to maintain its shape around John, Cameron, Mia, Kyle, Stefan Jr and Maggie.

JUPITER (O.S.)  
You can't go anywhere else.

SLOW MOTION as SARAH and MARCUS are gonna step to the platform, two big silver tails stab through their chests. Their blood flow like waterfall. The tails are pulled back, revealing they become arms of Jupiter.

KYLE/JOHN/CAMERON  
(shouting)  
NOOOOO!

Kyle is about to run toward Sarah but Mia, John and Cameron quickly hold his arm. His tears are streaming down.

KYLE  
(to them)  
Let me go. I'm helping her.

JUPITER  
How is it like to lose the one you love?

C.U. JOHN AND CAMERON both look angry and sad. Their tears flow.

C.U. STEFAN JR. as his anger is up. We hear metal stabbing from the outside.

STEFAN JR.  
You are too bad.

The room sparks. Jupiter looks around as the time bubble is near the point to implode. Jupiter smiles and shuts the TDE down.

JUPITER  
Yes, I am.

It finally dissolves, melting away and leaving them in the flickering lights of the room. The hypnoses stand around the controls and all scientists were already head-splat.

JUPITER  
Just like your uncle Glau, now you and  
your plan are gonna end. You are failing.

Sarah's and Marcus' bodies are pulled by John and Cameron onto the platform. They both aren't dead yet. Stefan Jr. steps forward, protecting them.

JUPITER  
I always want to be the king of Earth.  
You can't stop me anyway. You'll see.

Stefan Jr. stares still at Jupiter.

JUPITER  
Humans are still weak anyway. Without their  
heroes or heroines, they can't do anything.

C.U. THE TIME TRAVELERS as they hold Sarah's wound. Marcus is dead. They surround her. Kyle is holding her hand.

JUPITER (O.S.) (cont'd)  
No one can run from my scientific power.

KYLE (cont'd)  
No, Sarah. You must be saved. You have to stay  
with me. I love you, Sarah. Please don't die.

SARAH  
(weakly)  
Kyle, I love you too. I just have to go. We'll  
see each other again. I have been so happy to  
live with you. I'm so sorry. I can't.

CAMERON  
John, Kyle, her blood. I can't stop bleeding.

Cameron still struggles to stop the flow of blood. But none of her training or knowledge can help. The wound is severe and Sarah is weak. She needs surgery now.

JUPITER (O.S.)  
Kyle Reese, I'll...

Kyle looks up at Jupiter with much wrath on his expression.

JUPITER (cont'd)  
...cure her if you join me, join us  
and kill them all. I love your skills.

KYLE  
Never. You son of a bitch!

Kyle looks back at Sarah as Stefan Jr still blocks the way.

JOHN  
Mom, please. I love you.

Sarah looks at Cameron.

SARAH  
Cameron, look after my boy and protect him.  
I know you can do it. You always have could.

CAMERON  
I will. I promise.

Sarah looks at Kyle. She survives through this, her tears are streaming down with pride.

Jupiter's gaze sees that the button is pushed down by no one. He quickly looks at Stefan Jr. who has nosebleed flowing. Stefan Jr smiles proudly.

STEFAN JR.  
It's you. Not me.

The sphere begins to form again on the platform.

STEFAN JR.  
You are failing, Jupiter.

JUPITER  
Attack!

SLOW MOTION as every hypnos step.

STEFAN JR  
(shouting)  
Haaaa Ahhhh!

Stefan Jr spreads his arms, every hypnos and Jupiter bounce away from the platform. Jupiter can stand fast, he quickly jumps onto the platform and grabs Stefan Jr's leather clothes. The bubble is maintaining its shape.

STEFAN JR.  
Okay. You wanna go back with us, right?

Stefan Jr stops Jupiter's motion and brings Jupiter with him into the sphere of time. The light bubble becomes a beautiful chrome covering them all. Blue, purple, violet and cyan lightning sphere is shaped rapidly. The high tech time bubble dances about and Jupiter's molecules seem to be destroyed slowly. He's agape.

JUPITER  
What the hell is this?

STEFAN JR.  
Good bye, Jupiter.

Jupiter screams as his molecules become statue and then his voice is shut down.

STEFAN JR. (cont'd)  
You are terminated.

KYLE (V.O.)  
That is so much pain, hurtful.

Kyle keeps his eyes on that statue as it becomes dust.

KYLE (V.O.) (cont'd)  
I know it with all my life. Everything musts  
be continued. Everything is being continued.

...the bubble implodes, taking our heroes and heroines with it to the past. The room explodes and whites out:

KYLE (V.O.) (cont'd)  
I have to forget this pain.

EXT. LOS ANGELES – DAY

As the sun rises over Los Angeles, one last point of blue light flares in an abandoned junk yard. It flickers and dims, pulsing like a dying star and sending rivulets of blue fire along the ground. One of them frightens a mangy dog sleeping under the rusted frame of a car and sent it yelping under the fence.

KYLE (V.O.) (cont'd)  
Because every pain can be controlled.

For a moment, it looks like the unsteady ball of lightning is going to fade with the shadows, but it gives one last hiccup, and then blazes into life, spilling the roar of an explosion that won't happen for nearly twenty years into the air along with five bodies and one figure kneeling.

Then it pops like a soap bubble, leaving nothing but a charred circle, Maggie Moon, Stefan Jr, Kyle Reese, Cameron Connor and John Connor, in leather clothes and unconscious in the dirt. Cameron has been on top of John's body. The figure that has knelt is Mia who is standing.

ANGLE SHOT:

E. Boykins(with Orwell), Allison(with Sittipong), Catherine, John Henry, Nevlin, and Preecha (with Michael) come into view and are waking them up, calling their names to wake. Sarah has died before the jump. So she can't get back with them.

KYLE (V.O.)  
I have to live.

FADE OUT.

**END OF ACT 4**

**THE END**


	8. EP08 : Friends became Foes

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**Terminator:  
The Across Time Chronicles**

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**F05E08**

"**Friends became foes"**

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**Written by  
Stefan1994**

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This document is fan-produced fiction based on the television series, Terminator - The Sarah Connor Chronicles, and a fan-made season of fan fiction, F03 and F04 Terminator - The Resistance Fighters Chronicles, written by Stefan1994, eyeshieldTe and Mario28. This is done in spirit of fan fiction, to have fun and enrich the total fan experience beyond the limitation of the original story vehicle. In that spirit, and holding to the long tradition of free promotion. This story is being made available to the show fans for entertainment purposes.

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* * *

**TEASER**

WE OPEN ON:

INSERT FROM F03E09:

EXT. HERITAGE PARK – MORNING

SUPERIMPOSE: "2011"

We are inside the park. We see a man who we can recognize who he is, standing in the center of the park –- JACK VAN METER. He wears a common shirt with jeans and sun glasses. He's using his cell phone to call someone.

VAN METER (on phone)  
Hello, Mr. Ellison. Where are you?  
(beat)  
Where am I?

Jack turns around to see the place he stands inside.

VAN METER (on phone)  
I'm at 18 Richmond Street, Heritage Park.  
(beat)  
What? You are gonna take me yourself?  
(beat)  
Okay. We'll see. Thank you, Mr. Ellison.

Jack hangs up and he turns toward the street.

VAN METER  
We'll see.

WE PAN AROUND and...

DISSOLVE TO:

EXT. LOS ANGELES – DAY

As the sun rises over Los Angeles, one last point of blue light flares in an abandoned junk yard. It flickers and dims, pulsing like a dying star and sending rivulets of blue fire along the ground. One of them frightens a mangy dog sleeping under the rusted frame of a car and sent it yelping under the fence.

For a moment, it looks like the unsteady ball of lightning is going to fade with the shadows, but it gives one last hiccup, and then blazes into life, spilling the roar of an explosion that won't happen for nearly twenty years into the air along with five bodies and one figure kneeling.

Then it pops like a soap bubble, leaving nothing but a charred circle, Maggie Moon, Stefan Jr, Kyle Reese, Cameron Connor and John Connor, in leather clothes and unconscious in the dirt. Cameron has been on top of John's body. The figure that has knelt is Mia who is standing.

E. Boykins(with Orwell), Allison(with Sittipong), Catherine, John Henry, Nevlin, and Preecha (with Michael) come into view and are waking them up, calling their names to wake. Sarah has died before the jump. So she can't get back with them.

Everybody wakes up with little grogginess. John gently supports Cameron up to her feet. Kyle still looks sad. E. Boykins knows that Sarah hasn't come and she's dead. Allison looks around.

ALLISON  
Where are Sarah and my dad?

No one can answer. Their expressions are all sad. Kyle walks away from the group. That makes Allison's heart beat harder, it's unusual. She turns to her husband.

ALLISON  
What happened, Stefan?

E. Boykins stares hard at Allison, his tears are dropping from both of his eyes.

E. BOYKINS  
He's dead.

STEFAN JR.  
Killed by Jupiter. So was Sarah.

Allison's sadness and anger are mixing in her emotion. She grabs the collar of Stefan Jr's leather with her one free hand.

ALLISON (cont'd)  
Why haven't you protected him?  
He's your great grandfather.

Orwell starts to cry. Allison suddenly stops her anger but however, she still can't stop her tears.

ALLISON  
Shhh! Shhh! Easy. Shhh!

Orwell stops and reaches for Allison's embrace. Allison's eyes look at Stefan Jr with anger.

ALLISON  
You really have a bad plan.

Allison walks away, following Kyle.

E. BOYKINS  
Allison. Wait me. Please.

The rest follow Allison.

INT. CATHERINE WEAVER'S OFFICE – AFTERNOON

The door opens and PREVIOUS FUTURE E. BOYKINS enters the room, meeting EMMA LUCY ANN HENRY. Lucy stands.

LUCY ANN  
I had received a message from John Henry  
before he disappeared and everything went  
offline. It said to us to prepare the force.

PF E. BOYKINS  
Stefan told me through his mind that there are  
hostile force in Thailand wanna destroy and  
hypnotize everybody. They've served under a  
mimetic poly alloy name Jupiter Godon.

LUCY ANN  
New series?

PF E. BOYKINS  
Yes, Kaliba Group model 103 series 2000.

LUCY ANN  
So where is John Henry now? I can't find him.  
Please don't tell me he's dead. He's not, right?

PF E. Boykins nods.

PF E. BOYKINS  
But we have to prepare our force.

LUCY ANN  
You haven't told me John Henry's location.

PF E. BOYKINS  
Not where but when.

LUCY ANN  
When? I don't understand.

PF E. BOYKINS  
We have to hurry up before he lost John Henry's  
trail. We have to travel back to the same when  
with John and other did. We need most of people  
to sacrifice without any arguments.

LUCY ANN  
You can't do it that way.

PF E. BOYKINS  
I already have. I deleted their memories  
about Skynet time displacement equipment.  
It's only me who can invent it right now.

LUCY ANN  
How can you do this? I never want this.  
I and John Henry, we promise to create  
the Utopia for everybody.

PF E. BOYKINS  
The Asian Colonels and most of their men  
are getting here to join us in the battle.  
We have not much time. You read message.

Lucy Ann pretends to sigh.

LUCY ANN  
Okay. Sacrifice for the greater good.

PF E. BOYKINS  
The greater good is to protect you.  
You are as important as John Henry.

LUCY ANN  
Then why do I have to lead our force?

PF E. BOYKINS  
My TDE isn't complete. Not yet.

EXT. PORT OF LOS ANGELES – EVENING

The three Chinese frigates are in the port. They are ROCS Cheng Kung(FFG-1101), ROCS Chi Yang (FF-932) and ROCS Lan Yang (FF-935). The Japanese unknown model submarines harbor nearby. The banks of San Pedro Harbor are lined with a few dozen Zeira Fighters and humans resistance fighters, including OLIVER WEAVER, DONALD, EMILY, SEMINA MURCH, MATT MURCH, and DR. FELICIA BURNETT M.D. They all wear their real uniforms with their ranks.

The Asian and English soldiers embark and rank in front of them just about ten meters away from them.

COLONEL WANG PICHAO, COLONEL HIKARU CHINTAI and COLONEL KIM YOUNGCHUN walk pass the procession to meet OLIVER WEAVER and his followers.

OLIVER  
Good to see all heroes again.

HIKARU  
We're glad to see you here, Mr. Weaver.

KIM  
Jupiter was destroyed. But my agent has still  
confirmed that all Thais never want to get  
their free. They have continued what they  
were hypnotized to do. To kill all treats.

OLIVER  
It's really hard to destroy Thais.

WANG  
It'll be better if we know how to hack human  
brain deeply into the celebrum. With that, we  
may be able to recode the whole personality.

OLIVER  
Where are Indians?

WANG  
Hypnoses now.

OLIVER  
General Fox and General Jasper?

WANG  
General Fox has sent some men with us. She and  
most of English warriors have to protect Her  
Majesty. General Jasper will come soon.

Oliver pauses.

INT. PALMDALE HANGER – EVENING

The semi-circular roof of the 40m x 90m space shelters a number of ultralight aircraft. T-JUSTIN TUCK is with T-WALSH, T-KAPLAN and the T-ZM3 endos as the only beings inside.

T-TUCK  
No one isn't ready at this point, Mr. Walsh.

T-WALSH  
So I'll tell Mr. Weaver all we know.

T-KAPLAN  
Are you sure that they are gonna send us  
back too? I think it will bog down if we  
get back with them.

T-WALSH  
I'm not sure but they said that they need many  
super-strength men such as cyborgs or psychics.

T-KAPLAN  
They need many shots at a time.

THE TOKS face the T-ZM3 in the hanger.

T-WALSH  
Make sure our men are ready.

A cyborg, T-LEGOLAS (25) with Middle-eastern looks steps forward.

T-LEGOLAS  
Yes, sir.

T-WALSH  
What's your name, soldier?

T-LEGOLAS  
Luny Legolas, sir.

T-WALSH  
Now you lead this squad out to the port.  
Station on all US ships, boats and subs.  
Oh! And prepare all weapons to be full.  
Every gun. Every bomb. Every grenade.

T-LEGOLAS  
I have a question, sir.

T-WALSH  
What is it?

T-LEGOLAS  
We're not programmed to kill humans but  
why do we have to do it, sir? It's hard.

All of the heads subtly cock to one side. This is immediately followed by a SOLDIER entering and heading toward T-Walsh.

SOLDIER  
Excuse me. You wanted to be informed  
when they got Zeira.

T-WALSH  
Thank you. I'll be right there.

The Soldier exits.

T-WALSH (cont'd)  
I have to go. When I return, I'll address  
what you've said. While I'm away, you  
should examine this technology.

T-Walsh exits. T-Legolas, T-Kaplan, T-Tuck and the T-ZM3s move closer to the aircraft and the maintenance tools and equipment.

INT. ROOM – CONTINUOUS

This is same size with John's holding room in season 3. Oliver enters and faces T-Walsh and Colonel Wang.

OLIVER  
Colonel, I found you. Aha. Mr. Walsh, why are  
you here? I think you will be at my office.

T-Walsh stands.

T-WALSH  
I'm going, sir. But Colonel Wang...

WANG  
I think I got something to say.

OLIVER  
About TDE?

WANG  
Yeah. That's what I should. There's still  
a cyborg knowing how to invent a TDE.

OLIVER  
Who's that?

WANG  
I am.

Oliver considers that.

OLIVER  
How?

WANG  
Two years ago, I and my squad found a collapsed  
bunker in San Diego. I tried to recover every  
data on drives. General Boykins commanded me  
to keep this secret until it's the right time.

OLIVER  
And now it's the right time?

WANG  
You have to destroy me.

OLIVER  
We still need your men and also yourself.  
If we kill you, we may be able to lose it.

WANG  
War always...

OLIVER  
We can use our feelings in the war.  
That's why psychics always win and  
sometimes cyborgs lose.

INT. PALMDALE HANGER – EVENING

An assembly line is in place. Twelve T-ZMs are stationed along a long makeshift table. In front of each are bins/boxes/trays of various components. T-Tuck observes at one end of the table.

T-Kaplan is at the other end showing the last T-ZM what he needs to do. At one end of the hanger, six T-ZMs bend metal around forms with their hands, as well as weld parts together.

At the table, ingots of aluminum are carved quickly with gouges at two stations. Another station smooths and refines. Another station drills holes. And so forth on down the line.

T-Kaplan walks quickly back to T-Tuck.

T-KAPLAN  
They're really good.

T-TUCK  
Yes. You'll stay to ensure quality?

T-Kaplan is awed at the T-ZM's speed.

T-KAPLAN  
Hmmm? Oh, yeah. No problem.

T-TUCK  
I'll return in an hour.

T-Tuck exits. T-Kaplan slowly walks down the line, so impressed.

INT. CONFERENCE ROOM – EVENING

Typical conference room. Large table. Chairs. A chalkboard rests

on the tray of a wall-mounted whiteboard. Present(with their rank) are Jesse (rear admiral), Col. Wang, Col. Hikaru, Col. Kim, EDWORD SANCTUM(2-star: RAAF Maj. Gen.), Donald, Emily and Oliver.

OLIVER  
President Wyman told me that I can lead the  
people in this case to fight against our  
new enemies who ever were our best friends.

EMILY  
She signed on all papers.

OLIVER  
And everyone knows as I know. Thais are best  
friends to us all. We're not gonna open war  
with them. I know you all have hesitated.

EDWORD  
Yes, I never wanna fight them.

OLIVER  
But we have to. Just one shot to protect our  
world. I'm gonna say that we won't kill them.  
But I need everybody to capture every Thai you  
find on their ships. Every Thai human must be.

JESSE  
Okay. I understand it now. When will it happen?

OLIVER  
We don't know. Mrs. Henry are accessing the  
satellites with the reserved way John Henry  
made for her. We'll get contact back and  
know the formation of our enemies.

JESSE  
Good.

OLIVER  
Anybody has questions? None do?

Everyone looks around and nods.

OLIVER  
Dismiss.

* * *

**ACT 1**

**(Allison the orphan)**

INT. RENTED HOUSE – DAY

An old woman enters the house with all our heroes- John, Cameron, E. Boykins(with Orwell), Nevlin(with Sittipong), Allison, Stefan Jr, Maggie Moon, John Henry, Catherine Weaver, Mia, Kyle and Preecha(with Michael). They have their new clothes. The house isn't stylish (the only new thing here is a Flat Screen T.V.), but it's comfortable, lived-in. Lots of fishing memorabilia; photos of an American man fishing with another Indian man.

OLD WOMAN (cont'd)  
There're only five bedrooms. Six if you  
count the nursery. This isn't too big.  
It's not for many people.

STEFAN JR.  
Oh! We all won't. Just eight with children.

OLD WOMAN  
That's okay. Warm family.

Handmade cards to "Daddy" and photos of a girl. Cameron winces at that girl, age 7, in a tutu, sitting stubbornly on the ground. John stands beside Cameron. Allison separates to the upstairs. E. Boykins and Nevlin follow her.

OLD WOMAN (cont'd)  
I haven't moved anything out yet. All photos in  
here are all about my daughter and her family.

STEFAN JR.  
Where are they now?

OLD WOMAN  
They moved to Palmdale seven years ago.

JOHN HENRY  
(to Stefan Jr)  
We'll check the whole.

Three machines move to check around the house as Stefan Jr. still continues his conversation with that old woman.

OLD WOMAN  
Don't worry. They won't be back at this house.

Maggie's eye lands on a PHOTO of ALLISON SKYLAR YOUNG(F03E11).

MAGGIE MOON  
What's your name, Ma'am?

OLD WOMAN  
Damita Young. You can call me Dammy.

MAGGIE MOON  
You live in next door?

DAMITA  
Yes. You need anymore help?

STEFAN JR.  
Oh! No.

INT. THE PICHITCHAIS' ROOM - DAY

An antique rolltop desk sits in a corner. The room is filled with childhood remnants that have seen better days. Allison sits heavily on the edge of the big bed(big enough for a couple), tears threatening...

A knock on the door, but Allison doesn't want anyone to disturb her. She won't unlock it.

E. BOYKINS (O.S.)(cont'd)  
Allison, it's me, Stefan.

Allison doesn't answer. She lies down, crying on her own arms that cross on pillow.

E. BOYKINS (O.S.)  
Unlock the door, please.  
(beat)  
Talk to me, Allison.  
(beat)  
Allison, are you in there?  
(beat)  
Okay, I'm entering.

The door is unlocked by no one. E. Boykins opens the door and enters the room. Michael isn't with him now. His expression shows his compassion on Allison as he closes the door behind him.

E. BOYKINS  
Allison, why haven't you opened?

ALLISON  
(coldly)  
I just wanna be alone.

E. BOYKINS  
You are hurting me.

He sits down on the edge, close to her. His hand slowly reaches for her but she doesn't even wanna look at him, she is still crying onto her arms and her pillow.

E. BOYKINS  
I'm sorry for his death.

ALLISON  
(crying)  
I'm a kiss of death again. If I let him go  
back with us at that time, if I let him...

E. BOYKINS  
It's not your fault.

ALLISON  
(crying)  
Don't say it again.

E. Boykins touches on her back then brushes her hair away from her tear-filled face.

E. BOYKINS  
We're here to stop it and live our lives.  
Yes, our lives have to be continued. You  
have to forget him. He wouldn't be happy  
if he could see you at this time.

ALLISON  
(crying)  
You don't understand. It's painful.

E. BOYKINS  
Why don't I?

PUSH IN ON E. BOYKINS'S FACE, getting tearful as...

FLASH POP TO – ANONGSAK PICHITCHAI WAS SHOT FOR HIM.

FLASH POP TO - ANONGSAK HELD HIS HAND BEFORE DYING.

FLASH POP TO - ANONGSAK'S DEAD FACE...

BACK ON E. BOYKINS, tearing at the memory. He whips his tears by his hands.

E. BOYKINS  
I lost both my dad and my mom too.

With that, Allison considers and sits up to see his face.

ALLISON  
Oh! Stefan. I'm sorry. I forgot it.

E. BOYKINS  
No. Never mind.

E. Boykins reaches his finger to touch her tear streaming down her soft cheek.

E. BOYKINS  
We both ever lost parents. You have to  
understand the nature of every war.

ALLISON  
But I...

E. BOYKINS  
You can cry on myself. I'm ready. I always  
have. You can ventilate on me. Anytime.

E. Boykins seizes her neck and leans her face against his chest, letting her cry on it.

INT. JOHN'S AND CAMERON'S ROOM – DAY

This room is a bit like Pichitchais' room but it doesn't have any photos on walls. John carefully supports Cameron sitting on the edge of the bed. Cameron looks at John with a look of sympathy.

CAMERON  
I'm sorry for your loss.

JOHN  
What loss?

CAMERON  
Your mother.

John gives her a faint smile.

JOHN  
My mom never wants me to cry for her.  
I just hope that I'll see my mom again.

CAMERON  
You will.

JOHN  
And now I'm worry about you.

Cameron looks down at her belly. It's bigger that last time we see. She looks now like almost three months pregnant. Cameron stands up, John is about to help her but she smiles, doesn't want any help.

Cameron walks toward the door, closes it and locks it. John looks after her. He may know what she is gonna do.

CAMERON  
John, it's our time to...

JOHN  
You are pregnant, Cameron.

CAMERON  
During pregnancy, woman has unstable level  
of hormones. I really want it and you also  
want someone to ventilate on. I think I can.

JOHN  
But it will.

Cameron sits down beside him.

CAMERON  
It doesn't matter, John. We can have sex.  
It's not dangerous. Please do me favor.

JOHN  
But I can't.

CAMERON  
I insist.

Cameron holds his arms. He is awe of that it may hurt her. But Cameron still insists with a smile before they both slowly lean and place their lips against each other, sucking and tasting inside of each other's mouth.

John gently lies her down the bed before they break their kiss.

JOHN  
I need you to put these clothes off but  
you may do it so slowly. So I'll help you.

John puts her shirt off and throws it onto floor.

While kissing her again, Cameron unbuttons his shirt. Then they break the kiss for John who pulls her tank top up over her head. In moments, they both sit up strip to the waist. John places his hands on her waist, and pulls her toward himself to kiss her. Cameron tilts her head back, her eyes half close, and lips part for the kiss.

John kisses her upon her mouth. Her lips part more and their tongues touch. A soft moan escapes Cameron's mouth as she presses herself against John. Cameron pushes him onto bed. John's knees buckle as he backs into it. Cameron lets herself fall onto John, pushing him down onto the bed. Her long hair falls, brushing against John's naked chest, tickling him.

They quickly off kick their shoes, and remove their pants.

With a wicked grin, she lets her hair tickle John before kissing him again. John carefully caresses around her soft back as he kisses around cheeks and face and her lips.

Cameron leans back and guides his hands upwards until they hold her breasts. John rubs his thumbs across her erect nipples and gently squeezes her breasts. Her head tilts back, her back arches, and as John continues to caress and fondle her breasts, bringing forth more sounds of pleasure from her mouth.

CAMERON  
(groaning)  
That's good, John.

She is like Venus in the flesh. The only thing marring the beauty today is the pregnancy state on her belly, making her look a bit fat. Yet that doesn't matter. Somehow its stark contrast to her form, makes her all the more beautiful. Her lovely brown eyes and her long wavy brown hair which cascade over her shoulders, her body seems to be emphasized all the more by that pregnancy. She is so beautiful. John can't take his eyes off her.

With an impish grin, Cameron unceremoniously pushes John onto the bed, and climbs on top of him. John embraces her, kissing her mouth, her neck and following a trail across her body.

She gently stops him.

CAMERON  
(whispering)  
I want to love you. Please don't resist.

Cameron then straddles him and guides him into her with a light shudder.

INT. THE PICHITCHAIS' ROOM – SAME TIME

Allison is lying on top of E. Boykins. Don't imagine about their sex scene because they are still dressed. But only the chest of his shirt is wet with Allison's tears. Allison's tears still flow from her eyes, but slower. His hand fondles her hair, consoling.

E. BOYKINS  
For me, you aren't my problem. Never.

ALLISON  
Sure?

E. BOYKINS  
Sure. You are only one I have been living for.  
During my childhood, I lost my mom and really  
wanted to die. My dad saved my life and taught  
me. Then I had Emma as my best friend.

Allison looks up to him, interests in what he's gonna tell her.

E. BOYKINS (cont'd)  
Many times, I had tried to kill myself.  
But when I met you, I have been changed.

E. Boykins looks down to her who still lies and tears on his chest. She stares into his eyes.

E. BOYKINS  
I lost my father but I didn't want to kill  
myself like I ever wanted after mom's death  
because of you. You are the keys of my life.

ALLISON  
Did I just...?

E. BOYKINS  
No. We are husband and wife. I love you.  
All my life, I have been taught that love  
is sacrifice without return. I never want  
you to love me as much as I love you.

ALLISON  
Why have psychics praised love this much?

E. BOYKINS  
Love makes heart full power. All the whole  
body will respond as well. We understand how  
to love and it increases the power of mind.  
Love and lust are like the same. But love is  
super set of lust. Love includes lust but not  
at all of love is lust. I just hope that the  
one I love is happy and I'll be happy too.

E. Boykins touches her tears on her cheek.

E. BOYKINS (cont'd)  
Please stop crying for me, Allison.

ALLISON  
Thank you, Stefan.

Then they exchange a smile. They both sit up. He still keeps his eyes on hers, doesn't trust her sadness. He clears her hair out of her face and kisses on her forehead.

E. BOYKINS  
There is still a thing I haven't told you.

ALLISON  
What is it?

E. Boykins giggles at her.

E. BOYKINS  
You are more weighty.

Allison softly punches E. Boykins in the arm, E. Boykins smiles. We know as well that female never want us to state her weight.

E. BOYKINS  
(with a happy look)  
Okay. My Allison is back again.

ALLISON  
That's not good, Stefan.

E. BOYKINS  
I know but this is only one way to get  
you better. Do you feel better now?

ALLISON  
Stefan, can't we just lie here for awhile?

E. BOYKINS  
If you really want, we can. I often indulge you.

E. Boykins makes bed for Allison who slowly lies down and he lies next to her.

E. BOYKINS  
Some people say that sex can relieve sadness  
but I don't think so. Today, you are relieved  
without any sexual intercourses.

ALLISON  
Have you heard anything?

E. BOYKINS  
Yes, I have.

What they have heard is the sounds from next door... unmistakable sounds coming from behind the wall. They look embarrassed as they hear the cries and moans and the squeak of a bed. Not loud but if they get attention, they can hear it all.

Allison snuggles in close beside him and they talk quietly.

E. BOYKINS  
I'm not having sex with you today.

ALLISON  
I know. It's not good to have sex everyday.

E. BOYKINS  
Okay. Change the topic.

ALLISON  
What are we gonna talk about?

E. Boykins looks at her as she plays with her hair nervously.

E. BOYKINS  
Did I just do anything wrong?

Allison gives him a small smile.

ALLISON  
No. Nothing. But I just wanna think  
about it even we're not going to do.

E. BOYKINS  
I think you have to control your feelings.  
Like Kyle has been doing, he's been trying.

ALLISON  
You mean about Sarah Reese?

E. BOYKINS  
Yes. Kyle was taught by my father during  
the rescue mission in 2025 when you and  
I got to the battle of Palmdale.

ALLISON  
Kyle ever said: pain can be controlled.

E. BOYKINS  
He always. And he doesn't know it's from him  
then my father remembered it from Semina who  
remembered it from Sarah Connor who remembered  
it from previous future Kyle Reese.

ALLISON  
Seems complicated.

She places a kiss on his cheek.

ALLISON  
But I can understand it because who said it is you.

Allison snuggles closer to him.

E. BOYKINS  
I said. No sex today.

ALLISON  
No. Just want you to hold me until dusk  
and let me go. Wait, Sam and Orwell?

E. BOYKINS  
Next from John's room, nursery with Glau.

Allison rests her head on his chest. E. Boykins embraces her and he slowly falls asleep. Allison hears his sleeping breathing so she looks up and smiles. He's also handsome while sleeping.

ALLISON  
Okay. Just hold me until dusk.

Allison rests her head on his chest again.

INT. JOHN'S AND CAMERON'S ROOM – SAME TIME

Cameron is under John as while he is penetrating her with all his strength. His hands hold her wrists on her sides. She is groaning as he pounds in and out of her through her perfect soft sex.

CAMERON  
(groaning)  
That's very good, John. Empty all pain into  
me. I belong to you with both soul and body.

John pushes against her entrance as Cameron's body has already strained. Cameron gasps and holds her breath. John tenderly kisses a line down her collarbone as he pushes harder. He barely gains any more access. Cameron whimpers as the more pain builds. She steadies herself and...

CAMERON  
Like that, thrust into me. I want to know  
your pain...Ow! That's more like it. Good.

John looks in her eyes for a moment and nods. John moves his hands to grab Cameron's legs and jerks his hips to break through her resisting entrance. Cameron screams out. She whimpers and wriths as John's face falls.

JOHN  
I'm so sorry, Cam.

CAMERON  
Don't stop. Don't stop please.

John holds Cameron's hand as he slowly pushes inside her. Cameron yelps and pants through it. Cameron gets more and more frantic. Her whimpers reach a higher pitch and she grits her teeth and wriths underneath him. She braves another glance in the mirror and cries out. John looks in her eyes again, feeling her sacrifice and her need; she needs more but John climaxes into her. This disappoints her a bit.

JOHN  
Don't worry. It won't end easily.

John lets one of his hands slide between her legs and his fingers heat and moisture as he slides them through her swollen, open folds. Cameron presses back when he finds her entrance, impaling herself on two of his finger. She clenches around him and her cream coats his digits. He drives his fingers deeper without conscious thought, searching for the source of all the slippery liquid heat, but his fingers are just not long enough.

JOHN  
Let's continue.

Cameron is pleased when he is ready to do it again. John spins Cameron around. This time his target is her ass.

John guides himself through her slippery folds and finds her entrance. He finds the restraint from somewhere not to just ram himself home and groans as he lets his head roll back as he slides into her tight, hot flesh. Her snug channel wraps around and then caresses his length with hot friction. Something like a purr drifts over her shoulder to mingle with his whistling, hiss of an exhalation and his eyelids droop, half closing his eyes as pleasure snakes up his spine. It is forever and a fraction of an instant before his pelvis is pressed against the curve of her ass and he can go no further.

Her tight channel flexes and squeezes his length as he feels her flood in wet, slippery waves while he slowly rocks back and forth. John lets his hands slide up the smooth, curved expanse of her finely sculpted back, feeling it shift slightly under his fingers as she grinds back onto him. He leans forward, resting his weight lightly across her.

JOHN  
Do you like this?

He increases his range of motion, taking longer, more forceful strokes, but still keeping most of himself bury in her sweet embrace.

CAMERON  
Yes.

Cameron lifts her head slowly and looking over her shoulder. Her eyes are half lidded. He realizes the rhythm of it matches his inside her. Her eyes close slowly and when they open again, the large chocolate orbs are staring back at him. His mind seems frozen, locked on her beautiful features mixed in with the fury of the storm while his body continues to move with hers. She cranes her head around to look at him through her dark curls.

CAMERON  
Do it.

...and he slides out of her, lifting his weight and grasping her hip with one hand and the base of his cock with the other. Then he is positioning himself at the glistening rosebud pucker of her anus. John hesitantly starts to apply pressure, feeling her flesh give, and his tip sinking into her. He gains some confidence and presses harder, only to almost immediately find resistance, her tight ring contracting sharply to expel him and succeeding as he backs off. Her eyes find and lock with his; her unwavering chocolate stare is a plea and an explicit challenge. He drags in a steadying breath through his nose and then slowly lets it out through his mouth before he nods curtly. He repositions himself and starts to thrust, committing his hips as well as some of his weight to the endeavor, tightening his hand on her hip. He continues to apply pressure, wedging himself into her even as her flesh resists him. He grits out when they reach an impasse, her twitching, contracting ass halting his forward progress, yet unable to expel him. John grunts as his dick starts to bend uncomfortably as he tries to exert more pressure.

It happens so fast, he doesn't know what astonished him more, the sudden feel of her tight, hot flesh surrounding his dickhead or the sounds she has cried or groaned or moaned. It is a drawn out wail that fades to her panting heavily. It is a sound of pain and it torments him as well as fascinates him. The surrender of her ass and the underestimation of how much effort he is putting into breaching has caught him off guard and he plungs into her, hard and fast for about an inch and a half before he can get control of his momentum. Her flesh throbs and pulses with life as it kneads his. He pulls back slightly and pauses groaning at the friction from her tight ring of muscles sliding so snugly along his skin. She's panting slowly, her dark curls cover her bowed head. His hips drive forward and his cock forge its way through her tight flesh. John starts to thrust harder, his hands leaving her hips and sliding up her shifting back to hook over her shoulders. Her back arches as he pulls her back onto him, changing the angle of his penetration, allowing him to go even deeper. A sharp cry escapes her lips when he does, but at the same time she grinds back into him. Her ass clamps down around him with unrelenting force and his cry is one of pain and release as she squeezes his climax out of him. The delight of release as he swells and pumps his seed into her bowels soon washes away the pain. They breathe hard and slowly lie down on the bed, hugging each other in warm embrace. Cameron turns and smiles to him as he still hugs her.

CAMERON  
I like this. Do this to me again next time.

JOHN  
I promise.

Then John kisses on Cameron's forehead and they lie still there.

FADE OUT.

**END OF ACT 1**

* * *

**ACT 2**

**(It's all the past)**

EXT. CLIFF – DAWN

The future again; PF E. BOYKINS is sitting on a ledge. He's dressed in a vest, BDU pants and boots. He is looking down, seeing mountains, hills, mutant forests and river below. His eyes seem sad. A few drops of tear fall from them.

LUCY ANN (O.S.)  
So you are here.

PF E. Boykins turns to find Lucy Ann joining him from the forest behind this ledge.

LUCY ANN  
They have come and need you back for the plan.

PF E. BOYKINS  
I just need time to get some rest. You know.  
I'm now 73 years old. Senility is my weakness.

Lucy Ann sits down beside him.

PF E. BOYKINS  
I and Allison ever sat here in the timeline  
I came from. I and she swore that if we both  
lost all our men, we would jump down here.

LUCY ANN  
Together?

PF E. BOYKINS  
Yes. This makes a difference between two  
timelines because this Stefan told me that  
he and this Allison never swore that once.

LUCY ANN  
You look happy to be here. Better.

PF E. BOYKINS  
Yes. Even it's not that time and not that place.  
I don't know how hard for me to live alone here.  
Allison's soul has never followed me because she  
can't. She might be angry of me if she were here.

LUCY ANN  
But you have tried to do all this. Protect and  
change a lot of things. Everything has almost  
turned better. You sacrificed with long life in  
previous timeline heaven with Allison's soul.  
I know it's very hard for both of you.

PF E. BOYKINS  
I should go back there but I can't.

He turns to look at her with some tears flowing down his cheeks. He lies his head down and cries on her laps.

PF E. BOYKINS  
(crying)  
You know what, Emma? Sometimes you were like  
my mother I would never have. Sometimes you  
were like my big sister I would never have.

LUCY ANN  
If it'll help you better, you can cry on my laps.

PF E. BOYKINS  
(crying)  
I miss her. I miss my wife. I love her, Emma.  
But I can't get her back anyway. I want only  
love, I just need her, her embrace, her kiss.  
I haven't gotten anything from her since that.  
If that day, I didn't fall asleep, she wouldn't.

PF ALLISON (O.S.)  
It wasn't your fault.

He looks up and...

PF E. BOYKINS' POV.: PREVIOUS FUTURE ALLISON YOUNG, 19 years-old girl who had lived in tunnel, dressed in her BDU pants, black tank top and a leather jacket, sitting and looking down at him with tears on her face. Everyone knows that this is just an illusion in the deep of this tortured old man.

PF ALLISON  
It never.

PF E. Boykins smiles so happy through his tears. He touches her face, feeling its softness. His brain speaks that it's real.

PF E. BOYKINS  
(crying)  
I'm sorry. I'm so sorry, Allison.

PF ALLISON  
I never was angry of you. I just miss you.

PF E. BOYKINS  
I miss you too.

PF Allison touches his cheek. They lock their eyes, all with love, trust and worry.

BUT WHEN WE WHIP PAN, we see Lucy Ann look confused.

SWITCH TO PF E. BOYKINS' POV.: Lucy is PF Allison in his view. PF Allison looks down at him and looks to the cliff and back to him.

PF ALLISON  
It's been so long.

PF E. BOYKINS  
Yes. So long. I want your kiss, your touch,  
your embrace, your love and your heart. They  
are all I haven't gotten for 49 years.

PF ALLISON  
I already gave you my heart. I never wanted  
machines getting close to you. When Skynet  
got me, I hadn't said anything about you.  
I wanted to protect you but I couldn't.

PF Allison kisses on his forehead, he feels it real.

PF ALLISON (cont'd)  
I tried all my best. I'd hoped that you  
would die and we would see each other but  
you traveled here and changed everything.  
We can't meet or even see anymore.

PF E. BOYKINS  
I'm sorry for that, Allison. I love you.

PF ALLISON  
I love you too.

PF Allison leans and kisses his lips. She pulls back before he can kiss her back.

PF ALLISON (cont'd)  
I'm so proud of you.

PF Allison smiles happily. He sits up and stares into her eyes.

PF ALLISON  
Now, you are gonna save my people. I know it's  
really hard for you to kill Thais. I understand.

PF E. BOYKINS  
Promise me. We will see again.

PF ALLISON  
I promise. I still love you anyway. I'll wait  
for you. I wil always even it'll be very very  
long time. I won't love anyone else.

PF E. BOYKINS  
So will I.

PF ALLISON  
Good bye, Stefan.

PF E. BOYKINS  
Good bye, Allison.

His tears flow. PF Allison wipes them.

PF ALLISON  
Be stronger. It's all the past.

PF E. BOYKINS  
You can go now.

PF ALLISON  
Please remember that you are always in my heart.

PF E. BOYKINS  
You too. Good luck.

PF ALLISON  
Good luck, Stefan.

PF Allison walks away and disappears into the forest. PF E. Boykins turns to the cliff but what sees, it's not the cliff, it's the burned city of Los Angeles. Everywhere is on fire. Screams and explosions can be heard.

PF ALLISON (V.O.)  
(filter in his mind)  
Promise me. You won't let this happen.

PF E. BOYKINS  
I promise you.

PF E. Boykins opens his eyes, wakes up and finds himself lying his head on Lucy's laps. She cocks her head to the side, in that robotic curious way.

LUCY ANN  
What happened, Stefan?

He sits up and stands.

PF E. BOYKINS  
I just...I had a promise.

LUCY ANN  
What promise?

He smiles friendly. His expression is all happy.

PF E. BOYKINS  
Nothing. Let's go. We have our mission.  
You said that they have come and need me?

LUCY ANN  
Yes. Are you okay?

PF E. BOYKINS  
I have a dream. I promised her that I'll  
protect her people and protect this future.  
I should have been doing it. So lead me to  
them, Emma. It's time for innocent people.

LUCY ANN  
Yeah. And this is the real you, Stefan I know.

PF E. BOYKINS  
Lead me.

Lucy Ann nods and leaves. PF E. Boykins looks around, inhales with pride and strenght, and exhales with sorriness and weakness. His mind now has a clear mission.

PF E. BOYKINS  
Thank you, Allison.

He smiles and follows Lucy Ann.

INT. CONFERENCE TABLE – SAVANNAH'S OFFICE - DAY

The monitor on Savannah's side of the table that has shown the formation of international naval forces, turns off. T-Tuck, Oliver Weaver, Donald and Emily are near her side. PATRICK WYMAN sits beside Savannah. PRESIDENT SAVANNAH WYMAN looks up as Col. Wang, Col. Hikaru, Col. Kim, Maj. Gen. Edword, BRIGADIER GENERAL JASPER(F03E10), PF E. Boykins and Lucy Ann enter the room, standing at their chairs at the table.

OLIVER  
Gentlemen. Mrs. President Wyman.

Savannah stands. They salute at her.

SAVANNAH  
Please sit down, gentlemen.

Everyone sits down.

SAVANNAH  
I have read all reports everyone gave me. We are  
gonna be successful in communication repair soon.  
All satellites have been being linked to systems.  
But we still can see all area around 40 kilometers  
diameter in Pacific Ocean. Nobody hears and sees  
the sign of new coming force from Thailand. And we  
prepared the whole defence system with most cyborgs.  
I know it's really hard for all of you here to fight  
against our best friends. This is for our people.

JASPER  
Yes, Mrs. President. It's hard, sir. Do we  
have another way to get them back as friends?

SAVANNAH  
We have been trying for that but no other way.

HIKARU  
The T-2000 was killed. So this can be easier.

SAVANNAH  
I don't know but all our emissaries I have sent  
through our fastest designed ship are all killed.  
They had reported before they died that Thais were  
about to attack every country around. We are doing  
research for brain programming but I think it may  
be useless if it's too late. So we have to protect  
ourselves before Thais and Indians attack us all.

EDWORD  
So you are sure that moving our people here is best?

Savannah nods. Her look is very sure. Patrick Wyman looks a bit serious when he sees Savannah getting problems like these questions.

JASPER  
Mrs. President, do we have the defence plan?

SAVANNAH  
With the plan of previous future E. Boykins,  
we'll know what to do. I think you all should  
listen to him. He's sharp here.

PF E. Boykins stands. Everyone looks at him, getting their attentions at what he's gonna say. A glass plate is moving down from the ceiling to him.

PF E. BOYKINS  
Gentlemen, I spent two hours in the morning  
for this plan with my machine companions.  
I considered at how our location is.

The glass screen is turned on. It's the 3D map of Los Angeles and some area connecting along Pacific Ocean.

PF E. BOYKINS  
Our location is at the easiest way for defence.  
We have many naval ships, subs and coast guards  
along with long beach.

PF E. Boykins tabs at the long beach. The screen zooms in to see the tents and temporary towers with plasma cannons and watchers.

PF E. BOYKINS  
With our men stationing on each towers,  
we can watch and attack at anytime our  
enemies draw near our line here.

PF E. Boykins points into the screen as it zooms to 5 kilometers away from long beach.

PF E. BOYKINS (cont'd)  
Thais and Indians have repaired their battleships.  
If they get very close, our towers will burn them.  
We have only one final shots at them when they  
arrive at this point.

PF E. Boykins points into the screen as it zooms to 10 kilometers away from long beach and shows the yellow line on surface of this 3D map.

PF E. BOYKINS (cont'd)  
Look to the line, my friends. Code zigma.  
If the watchers see any ships in zigma,  
they will report to all ships through low  
frequency communication lines.

Jasper raises his hand. He has a question.

PF E. BOYKINS  
Say it, Mr. General.

JASPER  
And what will happen if our enemies know what  
we are communicating? Thais aren't stupid.

PF E. BOYKINS  
I know about Thais' intelligence. They are so  
clever but lazy. Just that, however, all our  
radios are just coding here. They won't know  
what really we will be gonna do to them.

LUCY ANN  
Because I have our new way for communication.

Everyone eyes Lucy Ann who stands and minimizes the 3D map down. She calls up a new application. It's all about communication lines that are encapsulated and other special used.

LUCY ANN  
I have created this communication systems.  
At this frequency state, no one can track  
and hack into our real communication.

PF E. BOYKINS  
Thais and Indians know Morse and other codes.

LUCY ANN  
So this is new for them. We encapcule our  
signal in the keys they never find. They  
won't know what we are communicating. We  
have been publishing our device since the  
meeting started. Every part of the radios  
we've invented is all upgraded from older  
designs. The outer looks same but inside  
is so different. We put small decoders in.

PF E. BOYKINS  
So we will understand the code but they won't.

Lucy Ann sits down.

PF E. BOYKINS  
Any questions?

JASPER  
Are you sure with this we won't lose?

PF E. BOYKINS  
I don't know. But we have already had the second  
plan I am not telling you now but if you think  
that your people may lose, you can tell them to  
fall back into Topanga and you will be able to  
camp there. I'll bomb everything and everyone  
in Los Angeles after all Thai and Indian forces  
have gotten on our land. I still hope that you  
and your people won't let it happen at that  
point. Any more questions?

PF E. Boykins looks around and no more question. He turns and nods to Savannah who stands.

SAVANNAH  
Dismiss.

Everyone stands and exits the room.

EXT. PACIFIC OCEAN – DAY

Along the blue Ocean, we move to see a naval force coming. Thai and Indian ships are in fast formation.

CLOSER and we see most of them: 2 repaired Rattanakosin class(HTMS Rattanakosin and HTMS Sukhothai), 3 repaired Khamronsin class corvettes(HTMS Kamronsin, HTMS Thayanchon, HTMS Longlom), HTMS Phutthaloetla Naphalai, HTMS Phutthayodfa Chulalok, 100 Royal Thai Navy AAV-7A1 amphibious assault vehicles around, Indian ships are behind(they are all frigates), Indian submarines underwater and other weapons such as boats with RSB-80s and reprogrammed HK-VTOLs.

INT. HTMS PHUTTHALOETLA NAPHALAI BRIDGE – DAY

COLONEL BABASAHEP ENVA INBEDGA is sitting on the command seat. CAPTAIN TRIPOOM and CAPTAIN SUWAN are near him. T-888s are working around controls.

INBEDGA  
Captain, are you sure that this is  
the last word of our master?

CAPTAIN TRIPOOM  
Yes, sir. He had said that before he entered  
the tent and everything down there exploded.  
We couldn't get him back because his molecules  
were separated into metals.

CAPTAIN SUWAN  
This is what we really have to do.

INBEDGA  
All our navy officers are ready?

CAPTAIN SUWAN  
Everyone never fear the Americans.

INBEDGA  
Good. What about our topedo stocks?

CAPTAIN TRIPOOM  
Full, sir. And we also have our reserved.

INBEDGA  
The plan is to attack around the land. Let all  
battleships there first. Then the frigates follow.  
I know it's stupid but this way will destroy all  
the whole easier. Do you understand?

CAPTAIN TRIPOOM  
Yes, sir.

Tripoom walks toward the communication controls.

CAPTAIN TRIPOOM  
(into comm)  
This is Royal Thai Navy Captain Tripoom.  
Every Captain. Prepare your weapons for  
hard attack tonight. Repeat. Prepare  
your weapons for hard attack tonight.

CAPTAINS (COMM)  
Aye Aye!

Tripoom turns to Inbedga who nods backslappingly.

EXT. RENTED HOUSE – EVENING

2011 again; This is the outside of the rented house our heros have rented. This house has two house nearby, it's not large but it lives in countryside. We can see unclear Los Angeles city away in b.g. It has fences around the well sized designed garden and house. Off street parking, there's a pick-up truck there.

John Henry, Catherine Weaver, Mia, Stefan Jr, Maggie Moon and Preecha Singhmak(with Michael) exit through front door.

STEFAN JR.  
Are you sure you don't wanna live here?

JOHN HENRY  
Yes. My brother musts be destroyed. So we  
should separate to many ways for the good  
attacks in many directions. However,  
machines aren't good at Go.

STEFAN JR  
Then who taught you how to play it?

JOHN HENRY  
My wife.

MAGGIE MOON  
She will come through soon.

JOHN HENRY  
I hope so.

STEFAN JR.  
That's still why we aren't gonna change anything  
as plan. So if she arrives, tell us that we can  
start. You know our numbers now?

JOHN HENRY  
Yeah, I know and I will.

STEFAN JR.  
Good bye, my friend.

John Henry, Catherine Weaver, Mia, Preecha(with Michael)and Maggie Moon go to the car. Maggie turns back.

MAGGIE MOON  
I'll go to supermarket for our dinner.

STEFAN JR.  
I know. Please come back fast.

Maggie steps toward him and flashes a kiss on his right cheek.

MAGGIE MOON  
I will.

Maggie Moon gets to the car again.

STEFAN JR.  
Take care of yourself.

MAGGIE MOON  
I will too.

Maggie Moon opens and enters the truck. The truck is driven out by Catherine Weaver. Stefan Jr. waves his hand to them when they leave the house. He then re-enters the house.

INT. BASEMENT – EVENING

Under a bare bulb KYLE REESE twirls two truncheons and assails a hanging bag. Heavy blows. Kyle is covered in sweat. Hands taped. He drives knees into an unseen enemy. He uses the truncheons with deadly accuracy. Substitutes his fists. This is a guy with advanced and unique fight training.

He punches again and again at the bag. His teeth gnashes with anger and wrath. A lot of the pictures of Sarah's death run through his deep mind:

SARAH (V.O.)  
(weakly)  
Kyle, I love you too. I just have to go. We'll  
see each other again. I have been so happy to  
live with you. I'm so sorry. I can't.

...he hits the bag harder, faster...

CAMERON (V.O.)  
John, Kyle, her blood. I can't stop bleeding.

...he hits the bag even faster.

SARAH (V.O.)  
I love you, Kyle.

Kyle throws the hardest punch he has left. His right fist has bloody scratches. He doesn't stop, he continues punching.

After exhausting himself he hears a floorboard CREAK...

...Kyle turns to Stefan Jr on the stairs with first-aid kit. His strong hands are taped too.

STEFAN JR (cont'd)  
So this is your kingdom, isn't it?

KYLE  
I need my time alone.

Stefan Jr. walks over to Kyle.

STEFAN JR.  
The machines won't have to kill you if you wanna kill  
yourself now. Look, PF E. Boykins or PF Stefan you  
know, he lost PF Allison Young but he could have  
lived with it for very long, he built a vault for  
the Connors and brought Sarah through time to you.  
What about you? This is madness, Reese.

KYLE  
You don't understand.

STEFAN JR.  
Why don't I understand? I lost my mom, my father  
and everyone in my family. They all died because  
of that liquid metal son of a bitch.

Stefan Jr. punches at the bag. He takes a few more hits. Kyle sees him hitting it faster and faster, harder and harder. Stefan Jr. throws the hardest punch he has left and it knocks the bag across the room. He breathes hard.

STEFAN JR.  
You see this? Everything's up to your mind.  
Strong or weak, it's up to your mind. Leave  
it behind you. It's just the past. You still  
have a lot of things to do around here and  
you also have to save your own life. Then  
you save Sarah Connor whom you must save.

That's the point. Stefan Jr's got him.

KYLE  
I understand.

Kyle sits down on a bench. Stefan Jr. joins him.

STEFAN JR.  
Let me look at your hand, Reese.

KYLE  
Up to you.

Kyle undoes his tape and reaches his bloody hand to Stefan Jr who looks at it and opens the kit.

STEFAN JR.  
Alcohol first. It'll be a bit painful.

KYLE  
Pain can be controlled.

Stefan Jr starts with alcohol then betadin and bandages. Kyle doesn't even cry out in pain. Finally, they friendly smile to each other.

**END OF ACT 2**

* * *

**ACT 3**

**(Battle of friendships and fate)**

INT. THE PICHITCHAIS' ROOM – EVENING

E. Boykins and Allison are asleep, his arms wrap around her firmly. One of her hands lies on top of his heart. He totters to wake and look down to her with a happy smile on his face. She looks peaceful, beautiful and cute during sleep. His hand slowly slides up to stroke her hair so gently.

E. Boykins' emotion is locked with her beauty as his hand senses the silky softness of her hair locks. Her fragrance gets through air into his noses, leaning his noses to smell her hair as much as his noses can do.

E. Boykins inhales very deeply before he exhales so softly.

E. BOYKINS  
(whispering)  
You never get a knife into my life.  
You just gave advantage to my life.

E. Boykins kisses on her head in the center of those locks. He gently lets her go, putting her head down onto a pillow below. He can see a few tears dropping from her eyelids. He touches them.

E. BOYKINS  
Oh! You're having mare?

E. Boykins smiles again and stands but her hand grabs him, turning his face back to eye her. She's up but still sleepy.

E. BOYKINS  
What's wrong, Allison?

He slowly sits down.

E. BOYKINS (cont'd)  
I just have to find you some dinner.

ALLISON  
(crying)  
Please don't go anywhere else. I have only you now.  
You have taken care of me like dad. I lost him and  
never want to lose anybody else. Please stay with  
me, making sure you are still alive all time.

He smiles happily.

E. BOYKINS  
I just go and will get back to get you soon.

But she wraps her arms around his waists.

ALLISON (cont'd)  
No, Stefan. Just stay with me. I need you here.

E. BOYKINS  
Okay. Stay here.

Allison nestles on his back.

ALLISON  
(mumbling)  
I need you so much.

E. BOYKINS  
We talked. No sex.

ALLISON  
Okay, Stefan. But just stay here for me.

E. Boykins turns and flashes a peck on her cheek, licking and sucking some of her tears.

E. BOYKINS  
I'll be with you if you really want.

ALLISON  
Thank you, Stefan. Thank you so much.

Allison nestles on his chest.

ALLISON  
Thank you very very much.

They slowly hug each other. His warm embrace will be hers forever. His arms, his chest, his bodies and even his soul all belong to her. Allison buries her face into his chest, sensing his love. His hands fondle around her back.

E. BOYKINS  
(whispering)  
You are my strength, Allison.

ALLISON  
(numbling)  
So are you.

E. BOYKINS  
I'm never sorry to fall in love with you.  
If now my legs could be felt easily, I'd  
not let you work so hard like before.

They let each other go.

ALLISON  
No. I want to do everything for you  
because you are my husband and it's  
me who caused you cripple.

E. BOYKINS  
Please don't blame yourself. Please forget it.

E. Boykins touches her cheek.

E. BOYKINS  
Even if all my parts were disabled,  
I would still love you forever. Even  
if I lost the whole of my body, I'd  
still love you with all my soul.

ALLISON  
You are very perfect man for me, Stefan.

She pulls him into her embrace.

ALLISON  
I won't leave you.

But a few seconds after all pain in her heart was cured, she realizes something. They part.

E. BOYKINS  
What's wrong, Allison?

ALLISON  
(murmuring)  
The electromagnetic power increases the abilities  
to work to all cells. These also resurrect dead  
but it'd be so dangerous about mind-blowing.

E. BOYKINS  
What?

Allison looks at E. Boykins.

ALLISON  
Stefan, I think they can get through time bubble.

E. BOYKINS  
What? Who?

ALLISON  
My father and also Sarah Connor.

E. BOYKINS  
I don't think so.

ALLISON  
Why?

E. BOYKINS  
Because I can't sense their minds.

Allison's expression seems to be very proud with what she just realized. E. Boykins is so confident that he's true.

ALLISON  
Maybe they're still alive.

E. BOYKINS  
Can be.

SMASH TO:

EXT. TRUCKSTOP – EVENING

Wild fingers of BLUE-WHITE ELECTRIC ARCS dance in a steel canyon formed by two TRACTOR TRAILERS, parked side by side in the back lot of a truck stop. Then...

The strange lightning forms a circular opening in mid-air, and in the sudden flare of light we see two FIGURES in a SPHERE OF ENERGY. Then the FRAME WHITES OUT with an explosive THUNDERCLAP!

Through the clearing vapor we see the figures clearly... MARCUS YOUNG and SARAH REESE lying there. Sarah moves a bit and tries to crowl but her force loses and dies.

A woman and a man run to see what just happened. They are frightened when they see them dead.

WOMAN  
Oh! My god.  
(to the man)  
Call the police.

MAN  
Yes, Ma'am.

The man picks a cellphone from his pocket.

INT. THE PICHITCHAIS' ROOM – CONTINUOUS

Allison walks around the room, thinking. E. Boykins looks to her.

E. BOYKINS  
Allison, don't think anymore. They are dead.  
Their bodies may go through the energy bubble  
but they may die afterward.

ALLISON  
If they die, you should sense their soul easier.

E. BOYKINS  
Yes, I should.

ALLISON  
So why?

E. BOYKINS  
There are three reasons I can't. First, my  
brain is too much damaged or it decays or  
I already lost my sixth sense via bubble.  
I'm sure it could happen just 4 %. Second,  
their souls haven't separate from their  
bodies yet. Third, they don't want me to  
track them. That can't be a reason at all.

ALLISON  
What if they haven't arrived yet?

E. BOYKINS  
It's possible. They... wait! Wait!

ALLISON  
What?

E. BOYKINS  
I just found Sarah Connor's senses from  
two places. One may be dead and one alive.

ALLISON  
What about my father?

E. Boykins closes his eyes, concentrating his mind around like mind RADAR. He inhales as deeply as he can and exhales slowly. Allison looks at him, pushing forward with no sounds.

He opens his eyes again and looks at Allison with disappointment.

E. BOYKINS  
I'm sorry, Allison. Only one Marcus Young living  
in the world right now. He died before Mrs. Reese.  
You should remember that. Maybe only his body can  
come through. I think we should listen to the news.

ALLISON  
So my father will...

E. BOYKINS  
We have to find his body before it's too late.

ALLISON  
Why?

E. BOYKINS  
Police will identify him dead. Marcus Young of  
this timeline will be a dead man in the systems.  
John Henry can help but it will be a big problem.  
We should find him before anyone out there know  
about time travel. Everything we fought for would  
be the origin of new war that would never stop.

Allison considers that.

E. BOYKINS (cont'd)  
Imagine, my lady. Supporting one country knows  
how to travel back through time, every country  
else would try to destroy and get the TDE.

ALLISON  
I understand. Where will we start?

E. BOYKINS  
Where did I find Sarah's mind in this timeline?

ALLISON  
Do I need to go with you?

E. BOYKINS  
Yes. But not the gun, just your black cape  
you packed in the leather bag via bubble.

ALLISON  
When will we go?

E. BOYKINS  
Now.

INT. ZEIRA LOBBY – EVENING

MATT MURCH(20s) picks up his laptop case at the reception desk. He looks back toward the elevators.

THE ELEVATOR comes. SEMINA CRUEL(18+) exits from the elevator and joins him.

MURCH  
Oh! Chola, you are very slow.

SEMINA  
Sorry, Murch. But there are many meeting  
cancelations I have to clear. It's not fun.

MURCH  
Is it hard for you to work here, Chola?

SEMINA  
No. I think.

MURCH  
Let's go. Today Thor was released. I know you  
like it much. I saw you read Thor comic book.

SEMINA  
Let's go. Really can't wait.

CATHERINE (O.S.)  
Sorry for bother, Mr. Murch, Ms. Cruel.

The voice is very familiar for Murch. He turns to the entry way to find Catherine Weaver, John Henry, Mia and Preecha Singhmak(with Michael) entering the Zeira Corporation.

JOHN HENRY  
I'm very nice to see you again, Mr. Murch.

Both Murch and Semina are agape.

MURCH  
Chola, I think we should go tomorrow.  
We have many special surprising guests.

SEMINA  
Is this an illusion? I think I have worked too hard.  
Maybe I should go to see Dr. Buhai tomorrow morning.

Both join with them. They all smile even if Murch and Semina are still agape.

CATHERINE  
This isn't any illusion. We're back.  
We have traveled back via Stefan's TDE.

JOHN HENRY  
Mr. Murch, I think you still keep my room clean?

Nothing Murch can say, he never imagined this before. Mia steps toward him and reaches her hand.

MIA (cont'd)  
Mr. Matt Murch, I'm Mia Lindow. I were built  
in Psytech Corporation, Thailand in 2030. I've  
heard a lot about you and I'm very nice to meet  
your real one today.

Murch takes her hand and shakes it, uncertainly.

MURCH  
(with a smile)  
I'm so proud too. You a cyborg?

MIA  
Yes. Kaliba Group System model 101 Series 888.

Semina smirks with that. Murch breathes hard and tries to get all these new problems, not problems at all. But it's very surprised.

MURCH  
(re: the group)  
Wow! You all from the future?

They all nod.

MURCH  
Oh! My god. And anybody else?

CATHERINE  
Mr. Murch, I need rooms for my friends. And  
maybe we need somewhere else more private.

MURCH  
Skynet again? Huh?

CATHERINE  
Yes. It's again. And sorry for your night.

MURCH  
Never mind. Wait. I have never heard this.  
You just said: sorry for your night?

CATHERINE  
(with a smirk)  
I did. Why? It was weird.

MURCH  
Yes, ma'am. Very weird. You never turned  
to me so sweet like this. I think I love  
this boss as well.

CATHERINE  
I have changed.

EXT. LOS ANGELES COAST GUARD - FUTURE – DUSK

THE FORMATION OF AMERICANS and their ALLIES' naval warriors are at ready all the time. The sun is setting down and everything looks very ready and comfortable.

INT. ZEIRA OFFICE – FUTURE - DUSK

Lucy Ann and PF E. Boykins are sitting in a small office. It's a bit smaller than Catherine's office. It has a table where the both are at, one bookshelf, two mini computers that has been on, and big screen. Lucy Ann is using a screw driver, working on her tissue-cut arm. E. Boykins helps her when her own skin is about to repair itself.

LUCY ANN  
I've been fixing it.

PF E. BOYKINS  
I'm here to talk about my TDE.  
It's ready for jumping via TB.

LUCY ANN  
And?

PF E. BOYKINS  
I think you should go back through time when  
it's still peaceful like this. We don't have  
this much time anymore. Only one jump. They  
won't change anything until you get pass.

LUCY ANN  
But I can't leave my people alone.

PF E. BOYKINS  
You just have to because you are the hope.  
Only you and John Henry can help them to  
change the situation in the past. You and  
he are eyes. They are ears, arms and legs.

LUCY ANN  
And?

PF E. BOYKINS  
No fighter can fight so good without good eyes.

LUCY ANN  
I have chosen my choice. I'll go back when  
everyone can't fight or everyone wins this.

PF E. BOYKINS  
This is stupid.

LUCY ANN  
So are you? You left the previous future.  
Living you life as common person with fake  
ID to change anything and get it be better.  
You still have fought. You couldn't leave  
this war anyway. We are not different.

PF E. BOYKINS  
Okay. You chose. And I'll protect you.

LUCY ANN  
I have my device to protect myself.

PF E. BOYKINS  
That device is only able to attack metals.  
Humans will attack you easily.

LUCY ANN  
Humans need weapons and their weapons  
are usually made of metals. Everything.

PF E. BOYKINS  
Please always remember that the TDE is still  
under this building. You can move down via  
an elevator and everything down there will  
be exploded after your jump.

LUCY ANN  
I hope that it won't happen that point.

Lucy Ann smiles and concentrates at her arm. She twists a few times before she puts her screw driver onto table.

PF E. BOYKINS  
You feel it?

LUCY ANN  
Yes, I do.

PF E. BOYKINS  
Are you sure this won't effect yourself?  
Your hands and fingers are still metal.

LUCY ANN  
I should install microchips around to  
identify my own organs and to expand  
its power. I'll be stronger.

PF E. BOYKINS  
I think it may be very amazing.

LUCY ANN  
I think so. Push harder. I need my arms open  
until I finish this installation. With this,  
I won't lose as before.

PF E. BOYKINS  
Okay.

PF E. Boykins cuts her arms wider.

INT. COAST GUARD TOWER – FUTURE – DUSK

It looks like an air-traffic control tower, with lots of screens and bay windows showing the whole area around Long Beach. REAR ADMIRAL JESSE FLORES is sitting with KITTY FLORES(2)on her laps. T-DEBBIE, the cyborg nanny is standing beside her chair.

JESSE  
I never bore the war. It's for the greater  
good of our people in the near future but  
I am really not good to attack our friends.

T-DEBBIE  
Friends became foes at any time.

JESSE  
Close friends are very dangerous, the most.

T-DEBBIE  
(as snuggling Kitty)  
This is hard but we have to do this. I have heard  
all commands. We must capture as many people on  
their ships as we can. They never want to kill.

JESSE  
Killing in this war is only in the compulsory case.

T-DEBBIE  
I still hope that I can join this war.

JESSE  
(whispering)  
No. You have to take care of my girl. I have heard  
about the TDE under the basement of Zeira Center.  
You should be there when they jump. Keep my girl  
back and I will battle against this war better.  
I just want her saved. Understand?

T-DEBBIE  
(whispering)  
I do.

There is an alarm working. The RADAR OPERATOR quickly checks the RADAR screen and looks very confused. He rushes to report Jesse.

RADAR OPERATOR  
Admiral, sir. We found contact in yellow line.

JESSE  
And?

RADAR OPERATOR  
They have moved in formation I have never found.

JESSE  
On screen.

RADAR OPERATOR  
Sir.

The RADAR OPERATOR rushes back and presses on a button. The screen in front of Jesse shows RADAR display. Contacts of enemy force are moving in weird formation. They have big dots(battleships) lead in front, tiny dots move around like flies and medium dots(frigates and Hks) move in shape of bat wings.

JESSE  
(eyes on screen)  
Someone goes to Zeira Center and tell  
leaders. Two men man on comm stations.

RESPONDS  
Yes, sir.

Two men behind her move out as other two move to comm station.

JESSE  
Tell them that the war has begun.

INT. ZEIRA OFFICE – FUTURE – LATER

PF E. Boykins wraps Lucy's skin back to cover her devices and her endoskeleton. He breathes hard and exhales, relaxing.

PF E. BOYKINS  
It's not hard.

LUCY ANN  
About what?

PF E. BOYKINS  
Learning your model.

LUCY ANN  
In the previous future, there is  
no one like me? I mean T-950?

PF E. BOYKINS  
Yes. And...

He looks down and sees that her arm repair itself very fast and soundly. Her skin regenerates and covers every wound so easily.

PF E. BOYKINS (cont'd)  
I think no one can destroy you easily  
at this point. You can't be stopped by  
overload power and shotguns. Plasma can  
destroys every part but you can move so  
fast, even faster than everyone to aim.

LUCY ANN  
Nothing can fight nature. My electromagnetic...

PF E. BOYKINS  
Your electromagnetic abilities are good.  
I think we should test it now. You know  
how to control your device?

LUCY ANN  
I have developed it. You just see.  
Why the hell I can't, Mr. Boykins?

Lucy Ann stretches her hand to her side.

CLOSE ON a knife on a shelf at the corner of room as it totters ominiously and rushes...

...ONTO LUCY'S HAND that holds it firmly.

PF E. Boykins claps his hands.

PF E. BOYKINS  
Wow! Congratulations!

LUCY ANN  
I think I should do better than this in  
the battle. I can try for larger machines.

PF E. BOYKINS  
It has limitation?

LUCY ANN  
Yes. 300 meters diameter.

And then someone out there knocks the door.

LUCY ANN  
(shouting)  
Come in please.

The naval officer comes in and salutes at them who face him.

NAVAL OFFICER  
Sir, it starts.

Every hint of happiness loses from their face.

PF E. BOYKINS  
How's the situation now?

EXT. COAST GUARD – FUTURE – DUSK

Naval officers get into their ships, boats and subs. Armed force are ready at the small aprons around the beach. The sun is at the edge of the ocean. This is the last light before the big battle of fate and destination starts. Some ships move forward. Guns are at ready to fire.

**END OF ACT 3**

* * *

**ACT 4**

**(Battle of hope)**

INT. ZEIRA BASEMENT – NIGHT

JAMES ELLISON and SARAH CONNOR walk toward the server room.

ELLISON  
Do you know why they call us here?

SARAH  
I don't know. Maybe something musts  
be wrong. I think we'll see it soon.

They enter the server room.

INT. SERVER ROOM – CONTINUOUS

The John Henry server fills the room. There are chairs, a table, and several projected images. John Henry is sitting. Catherine Weaver and Mia are standing beside him. Murch is checking around the server which is connected to John Henry's skull.

Sarah and Ellison enter.

SARAH (cont'd)  
Whatcha sur...

Sarah stops as she sees Catherine, John Henry, Mia and Murch.

SARAH  
What the hell is this?

CATHERINE  
Sarah Connor.

JOHN HENRY  
Hello, Ms. Connor. How are you today?

SARAH  
I already destroy... Oh! Sorry. So you  
are John Henry? Or Cameron? Or else?

JOHN HENRY  
My name is John Henry.

SARAH  
I never expected this before.

ELLISON  
What happened?

Catherine steps closer them.

CATHERINE  
Why, Mr. Ellison? You don't wanna see me?  
We get back with a hope to destroy Skynet  
and completely stop J-Day.

ELLISON  
What? I don't understand.

CATHERINE  
I'll explain the same thing I did to Mr. Murch  
and Ms. Cruel to you. But where is Savannah now?

ELLISON  
Why? I think you don't wanna see her again.

CATHERINE  
I miss her.

SARAH  
You are not her mother. Remember this, metal bitch.

Catherine's anger is up immediatly. She doesn't like everyone who calls her bitch. She gets close to Sarah who never fears but Mia grabs her arm. They exchange a serious look.

MIA  
(whispering)  
Ms. Weaver, let it go. This woman is friend.

Then Catherine flicks her hand off and walks back to John Henry. Mia so mincingly smiles and talks to Sarah Connor.

MIA  
(gently)  
I'm sorry about this madness, Ms. Connor.

SARAH  
Who are you, girlie?

MIA  
My name is Mia Lindow, sir. I think you  
want to tell us where Savannah is now.

SARAH  
Why do I have to tell you, Mia?

MIA  
We have to regroup the resistance as fast as  
we can. Skynet hasn't died yet. Nodes, cores  
and other links are being installed around  
the world because you let Jack Van Meter go.

SARAH  
So where is my son?

MIA  
Your son, John Connor?

That gets both Ellison's and Sarah's attentions.

MIA (cont'd)  
They are now with a family that can protect  
him, Stefan's and Allison's psychic family.

SARAH  
Stefan and Allison?

JOHN HENRY  
And also with someone else you may  
really wanna face. It wouldn't be  
a surprise if I told you.

CATHERINE  
Mr. Ellison, where is Savannah?

Ellison a bit hesitates. He looks at Sarah, then Catherine, then Sarah and back at Catherine.

GIRL SAVANNAH (O.S.)  
Mommy?

Catherine looks up to find AGENT ALBERT AULDRIDGE and GIRL SAVANNAH WEAVER who just entered the server room.

Savannah has some tears flowing from her eyes. She runs to Catherine but Sarah grabs her, wanna save her. Ellison looks at her and nods confirmation. Sarah lets her go. She and Catherine hug with real relation of mother and daughter.

GIRL SAVANNAH  
Mommy, I miss you much. You come back.

CATHERINE  
I miss you too.

With the feeling like her own mom, Savannah tightens her hug.

GIRL SAVANNAH  
You are still cold.

CATHERINE  
I know that, Savy.

GIRL SAVANNAH  
I love you.

Sarah watches this with tears. And this is really what she never expected to see from this liquid metal.

CATHERINE  
I love you too, Savy.

John Henry just smiles. His eyes leave them and look to Ellison who has a few tears. Then his eyes roll to Agent Auldridge who has a few tears too but his expression has a problem beneath his mind. Something may happen.

JOHN HENRY  
Mr. Auldridge.

AULDRIDGE  
What? You called me?

JOHN HENRY  
Yes.

Auldridge walks over to John Henry's table. Everyone's attention is taken at them.

JOHN HENRY  
You have a problem. What is it?

AULDRIDGE  
It had been so weird before I met you all  
here. I just realized what just happened.

SARAH  
What happened?

AULDRIDGE  
I found Mr. Young's and your bodies.

Sarah's look is stunned.

SARAH  
What?

AULDRIDGE  
They both are dead. For one hour. A couple  
found the bodies on truck stop and they call  
the police. I got there with Savannah on car.  
My division got their bodies back for autopsy.

Sarah is very surprised. She turns to John Henry who knows what she really is gonna ask.

JOHN HENRY  
Previous future Stefan had taken you from  
J-Day through time to 2030. They met us and  
continued their lives peacefully until one  
day when we traveled to Thailand, a liquid  
metal terminator from 2080 hunted us. This  
is why we have to be here to stop J-Day and  
stop everything that will cause the origin  
of this terminator. Skynet had its research  
on Mars that we didn't know. So if we can  
stop Skynet, we change it completely and  
the T-2000 won't be able to track us.

SARAH  
Sounds complicated.

ELLISON  
We have to enter and steal the bodies from  
FBI headquarter before it's too late.

AULDRIDGE  
We can't. The case now belongs to Agent Norgaard.

CATHERINE  
The one on James' case in North Hollywood.

JOHN HENRY  
I think we don't have to do anything.

Murch completely finished his job and joins them. John Henry looks to his screen which shows a surveillance picture in front of the FBI HQ where Allison and E. Boykins, both have sun glasses and caps on, are with a truck. An AGENT comes to greet them, talking something to them before they get out of that place.

JOHN HENRY (O.S.)  
My friends will get them out.

SARAH  
Stupid way. We have to help.

John Henry looks at Sarah.

JOHN HENRY  
General Warapop Pichitchai also known as  
E. Boykins and his wife, Allison aren't  
stupid as you have thought. They can get  
pass every agent and no one will die.

SARAH  
I see but it's still stupid. Cameras still see  
them doing all this. They will be in the list.

JOHN HENRY  
No, Ms. Connor. The whole area around FBI HQ  
is under my eyes and ears and neural systems.

SARAH  
Why do I have to trust you?

ELLISON  
Because we all trust him.

Sarah eyes Ellison. John Henry gives him a smile.

SARAH  
You can't trust metal, can you?

ELLISON  
Not like John Henry. And we already have  
worked together with a machine. Her name  
is Emma Akagi. And this time I want you  
to trust my disciple.

SARAH  
Okay. Up to you. Supporting any bombs attack  
the world, I'll kill everyone in this room.  
(to Catherine)  
I know how to kill you anyway. I ever did.

ELLISON  
Sarah, we have to let him. He's grown.  
(to John Henry with a smile)  
John Henry, do it if you have to.

JOHN HENRY  
Yes. Mr. Ellison.

EXT. LONG BEACH – FUTURE - NIGHT

The battle between hypnoses and free wills has started in this one hell night. Explosions! Plasma-weapons firing like searing strobe-light.

SEQUENCE OF RAPID CUTS:

TOWERS firing their blasts away into the ocean, their targets are all Indian frigates and two Thai battleships out there. A gunner is an armored personnel carrier fires a LAW rocket at a pursuing HK-VTOL, bringing it down in a fiery explosion on a beach. US FRIGATES and INDIAN FRIGATES are fighting each other with all weapons they have; plasma, guns, missiles, anti-missiles and torpedos. HTMS battleships blast every ship that gets close to it, sinking them down to...

...THE UNDERWATER where submarines and submarines fighting. Japanese and Chinese and US fire fight with Indian and Thai. All Thai submarines are the one they sold from Germany before J-Day.

This seems worse. No one expected that this is happening. Humans kill each other without mercy.

A THAI SUBMARINE fires a torpedo which goes ahead to the USS JIMMY CARTER that does a slight roll onto its right side to evade the torpedo which goes down the underwater ground and stops.

A T-888 endo underwater jumps onto a head of an INDIAN SUBMARINE and punches through it, putting something inside it and jumping down just before its head explodes. Bubbles glow with blood.

Another torpedo goes through bubbles, speeding toward a Japanese submarine.

INT. USS JIMMY CARTER – FUTURE – SAME TIME

It's your standard attack submarine bridge: lots of electronics spread around several stations. Some very obvious jury-rigging and patching has decorated the space as well. CAPTAIN QUEEG mans the helm. T-600 COMMANDER and COTB CHRISTOPHER GARVIN keep watch on the tactical console. SONARMAN adjusts some controls on his board. LIEUTENANT SUMMER GOODNOW is holding her gun for sure.

SONARMAN (cont'd)  
Our friend got it.

GARVIN/**SONARMAN**  
Torpedo in the water. **Closing at thirty-five.**

GARVIN  
Closing at thirty-five.

CAPTAIN QUEEG  
Understood, Chief.

Everyone on the bridge is very calm: just another day at the office.

SONARMAN  
New contact closer. Akula II class.

T-600  
Holy crud.

SONARMAN  
Three thousand yards starboard,  
seven hundred feet. Closing.

Worry permeates the crew.

CAPTAIN QUEEG  
I can handle this. Chief of the boat.

Garvin is at ready.

CAPTAIN QUEEG  
Get ready to every tube of torpedo.  
Fire right at the same time I say.

GARVIN  
Aye, aye.

Garvin walks over to his torpedo controls.

EXT. USS JIMMY CARTER – FUTURE – NIGHT

The USS JIMMY CARTER fire all eight torpedos at the same time. They all are speeding toward the distant AKULA CLASS SUBMARINE- THE INS CHAKRA which can't even avade.

EXT. COAST GUARD – FUTURE – NIGHT

MEN  
(shouting)  
Go! Go! Kill all cyborgs. Capture Humans.

JESSE FLORES runs out of the tent and head-splats two T-888

endos. Jesse runs through tent and militarily shouts.

JESSE  
You all rise. We have to fight. Go! Go! Go!

CAMERA LEAVE HER AND CRANE UP TO LOOK THE VIEW OF THE CRAZY BATTLE IN THE OCEAN A KILOMETER AWAY.

INT. SUBMARINE – BRIDGE - FUTURE – NIGHT

-a MASSIVE CONTROL AREA for a HUGE SUBMARINE. SONAR and RADAR stations, a CREW of NAVAL PERSONNEL, most do not wear uniforms. This sub is where Colonel Hikaru has been the whole time.

THE AIDE leads COLONEL HIKARU CHINTAI to a GPS TRACKING TERMINAL, where Japanese NAVAL and AIR FORCE OFFICERS hover.

HIKARU  
Hurry up, men. Fire torpedo at a Thai sub.

JAPANESE NAVAL OFFICER  
Yes, sir.

The officer puts on the button and then there is a sound of torpedo moving out of tube.

EXT. COAST GUARD – FUTURE – NIGHT

The battleships turn to fire missiles on ground. Most men run as they attack the towers. Allies' frigates try to fight but the Indian frigates fire at them, drawing their attentions. Most soldiers scream and run away from the firing. Some still fire back as some face those armed force who come with Royal Thai Navy AAV-7A1 amphibious assault vehicles.

The firefight on ground starts.

Three terminator endoskeletons advance, firing rapidly. Another (complete cyborg), with flesh ripped open and back broken, gropes for a rifle on the ground.

HK-VTOLs are hunting down soldiers as they run.

JESSE (O.S.)  
Fall back, team. Fall back into city.  
Everyone fall back. Fall back from now.

ON HTMS Rattanakosin, it fires anti-submarines down.

EXT. UNDERWATER – CONTINUOUS

The anti-submarines go down and attack every submarine.

INT. SUBMARINE – BRIDGE - FUTURE – SAME TIME

The Japanese is attacked. The bridge explodes and everyone falls. Hikaru tries to stand but he has too much pain and water is flowing in.

INT. USS JIMMY CARTER – BRIDGE – SAME TIME

A KLAXON BLARES, some STEAM VENTS from a pipe. One section of electronics is dead or blinking. Garvin's right hand has a blood-stained cloth wrapped around it, the fingers are useless. Some of the crew also are dead or injured. The submarine lists.

T-600 (COMM)  
Bridge, Aft.

QUEEG  
On speaker, Mr. Garvin.

Garvin moves to the comm box and flips a couple switches. Then Garvin eyes a screen, knowing the new coming torpedos.

GARVIN  
Oh! No. Aft, get out of this sub.

EXT. USS JIMMY CARTER – FUTURE – CONTINUOUS

The submarine is attacked by four topedos and explodes. Every crew's fate is all death.

Every submarine nearby is shot and destroyed easily too.

EXT. LONG BEACH – CONTINUOUS

The whole of Long Beach is under the hell night. People and warriors are being hunted and killed. The resistance is falling back into the city of Los Angeles, the place where many cannons are installed and fired at the invasion of the hypnoses.

INT. LOS ANGELES FBI HQ OFFICE – NIGHT

DEPUTY DIRECTOR SIMPSON sits behind a desk in a borrowed office. Opposide him is AGENT NORGAARD (S02E01).

NORGAARD  
I just checked the fingerprints on our  
database. The man is Marcus Young. The  
woman is the fugitive terrorist named  
Sarah Connor. I got Young's address and  
I think you should go to meet Mrs. Young.

Simpson's voice is a bit like a voice of the unknown Agent who talked to Auldridge through his cellphone in S02E22.

SIMPSON  
Okay. And anything else I should do?

NORGAARD  
Nothing. Just do all this happen.

SIMPSON  
But I have to ask you something.

NORGAARD  
What is it?

SIMPSON  
Why don't you confirm death to Mr. Young  
on database? Or you have a plan? Oh! No.  
It's just death of two persons.

NORGAARD  
But one of them is Sarah Connor. I just have to prove  
something I always have seen since Ellison's case in  
North Hollywood. I think everything has connection  
with Sarah Connor and her psycho prediction about  
J-Day and machines from the future.

SIMPSON  
And about Auldridge?

NORGAARD  
I'm keeping eye on him.

SIMPSON  
Okay. I will go to Young house. See you tomorrow.

NORGAARD  
Yeah. See you tommorrow.

Simpson stands and they shake hands.

Simpson leaves her but as he opens the door. All lights are switched off by no one. He turns to Norgaard who stands and walks over to him, looking around.

SIMPSON  
What the hell happened? Power Plant dead again?

NORGAARD  
I don't think so. Maybe some problems with  
transformer. I'll go and check it out.

SIMPSON  
I'll go with you.

But as they turn, Norgaard looks sleepy. She feels like her body is gonna be lowed. Her power is losing and... then her eyes close and she falls asleep.

SIMPSON  
Agent Norgaard. Agent. Norgaard. Hey!

Simpson looks around and sees that every agent falls asleep. Simpson's fear is a bit up. He quickly draws his pistol. No one is his target. A few seconds later, his eyes are about to close. He tries to keep them open. But his force is losing. His pistol falls from his hands. He drops to the ground, asleep.

From the air vent, Allison jumps down to the floor. She wears a black clothes with black cape, black shred as mask and knuckle-dusters. She looks around before she does fingers-to-temple gesture.

ALLISON  
I'm in. They sleep. Successful.

BEGIN INTERCUT: ALLISON AT FBI HQ and E. BOYKINS on a chair in a peaceful park. E. Boykins is meditating in that park. Allison walks and does what he wants as they telepathize.

E. BOYKINS  
You go ahead. There is a desk there.  
It's Norgaard's. Sit down and turn on  
the computer then you have to plug in  
that flashdrive I gave you.

ALLISON  
Okay. It works.

E. BOYKINS  
You have to try it yourself. Find every  
case of Agent Norgaard. Delete the latest.

ALLISON  
Okay. I did it and what?

E. BOYKINS  
Slowly, check out the demographic database.

ALLISON  
I'm doing. What is this? It says my father...

E. BOYKINS  
Change it. Insert password: ts5336e320.

ALLISON  
Okay. Identify as Agent Norgaard.

E. BOYKINS  
Do it and turn off the computer. Then  
you go to the passageway under basement.  
There are two guards in front of morgue.  
I have not much power to control them.

ALLISON  
So that will be very fun.

Allison turns off the computer and walks to the way he told. She walks down the stairs.

INT. FBI PASSAGEWAY – NIGHT

Allison walks down from stairs and sees two guards in front of a room. They have pistols and truncheons.

ALLISON  
It's fun.

Allison runs toward them. They turn and see her running to them.

GUARD #1  
Hey! Lady, please stop, sir.

GUARD #2  
Stop her.

Guard #2 grabs his pistol and fires at Allison who quickly evades, jumps and evades from the range together with run. She rushes at wall and jumps over ground and falls again. Guard #2 empties his pistol but missing her.

Guard #1 aims his pistol but too late. Allison WHIPS her black cape into the air and it SNAPS out, WRAPS around the guard's wrist and YANKS him forward and knee-attacks his head. Sleep.

GUARD #2  
Who are you, girlie?

ALLISON  
You would never know me.

GUARD #2  
Wow! Angelic voice. But dead today.

The guard draws his gun after reloading. Allison kicks it away. Allison ducks a punch and drops to the ground, viciously LEGSWEEPS the guard, then TWISTS and PIVOTS around his body RAINING DOWN BLOWS on the overmatched guard.

The guard falls and grabs his pistol up. He aims and fires but SPRINGS up the wall and BACKFLIPS over the guard's head and lands...

...at her cape which she WHIPS into the air and it SNAPS out,

WRAPS around the guard's wrist and YANKS him forward where he meets...

...her knuckle-duster. WHAM. Lights out. Bye bye.

INT. SERVER ROOM – NIGHT

John Henry and everyone including new comers- Preecha Singhmak and his son on his embrace, see the event in the basement via surveillance camera.

SARAH  
That girl is not bad.

ELLISON  
Compare with you, I think you lose her as well.

Sarah has an angry look on Ellison. But then she smiles.

SARAH  
Shut up, James.

ELLISON  
Okay. I won't kid to you again.

CATHERINE  
She can get the bodies too easily.

JOHN HENRY  
Everyone falls asleep with his abilities  
to gain control over other humans' brains.

CATHERINE  
Allison was trained by Amm and him.  
She didn't disappoint me. We'll know.

And in the monitor, Allison pulls out her mask. That stuns Sarah.

SARAH  
Cameron?

CATHERINE  
That's not Cameron. She's origin. Allison Young.  
Oh! No. We should say her name Allison Pichitchai.

SARAH  
Her face?

JOHN HENRY  
According to Cameron's memories, the previous  
future self of this girl was killed and copied  
by TOK 715 who then became Cameron.

SARAH  
So this girl is real.

JOHN HENRY  
Yes. She is.

Allison enters the room. Then John Henry shuts his monitor down.

JOHN HENRY  
We have a lot of surprising things, Ms. Connor.

DISSOLVE TO:

EXT. LOS ANGELES - FUTURE – NIGHT

HIGH ANGLE.

The AHKs and HK-VTOLs fly down from the sky, exchange firing with

anti-air units and resistance melee force.

LOW ANGLE FROM THE HIGH RISE

An AHK is flying toward here but a man with LAW rocket launcher comes and fires at it before it falls onto another building in a fiery explosion. Then other HK come and rake at the man. He's shot in the head before he dies. We can hear voices of shouting and crying painfully from many soldiers around in b.g.

FULL SHOT.

A THUNDEROUS ROAR crescendoes as two AHKs scream past, trailing an F-16 fighter. The HKs pull impossible Gs, outmaneuvering the human-piloted F-16. An EXPLOSION of PLASMAFIRE as the aerial Hks strafe the F-16, blasting it out of the sky.

We follow the fiery pieces of shrapnel as they rain onto the broken streets and some anti-air missile launchers below...

WE PAN OUR CAMERA TO THE SOUTH AND we see a lot of endos, HK-VTOLS, HK-BOMBERS and AHKs. They come like bats out of their cave for foods. Three HKs fly so fast and hover through us. We track one of them to the Zeira Center as it's shot by some kind of PLASMA CANNONS which are installed surrounding the Zeira main control room.

THE PLASMA CANNONS rake around the sky, firing and destroying all HKs which come close the building.

OLIVER WEAVER AND DONALD stand watching the destruction. They turn around, a while before they leave this area.

WE PAN OUR CAMERA TO SEE the crazy battle and humans fighting for their lives through this hell night. Plasma-weapons and explosions emerge everywhere.

The situation seems bad as hypnoses take over many cannons and fire at the resistance.

A Thai F-16 fighter flies through air, rushing to run into the Zeira Center.

SMASH TO:

INT. TUNNEL 6 – NIGHT

Four soldiers run pass the tunnel with their plasma-weapons. We can also hear the sounds of plasma-firing and explosions from other deep tunnel.

SOLDIER (cont'd)  
Go! Go! Get them all.

Other four soldiers follow.

SMASH TO:

INT. ZEIRA BASEMENT – FUTURE – NIGHT

Debbie is running in the basement. Plasma firing after her. She never stops running. And always keep Kitty safe.

She reaches the dead end, turns back and screams fearfully just before she is head-splatted. Two T-950 cyborgs come and aim their guns at the girl in Debbie's dead embrace.

LUCY ANN (O.S.)  
The girl is mine.

The T-950s turn and find PF E. Boykins and Lucy Ann without weapon, and look battle-harden. They quickly aim but their guns fly from their hands to the floor near Lucy Ann's feet.

PF E. BOYKINS  
You don't want it this way.

LUCY ANN  
Or you want?

Lucy Ann stretches her hand at T-950s. They soar up and bounce away toward a power generator that shocks them both.

PF E. Boykins stares hard at them as they try to stand. Their systems are shut down immediately.

PF E. BOYKINS  
We have to jump back.

FOCUS ON PF E. BOYKINS' face just before we...

DISSOLVE TO:

INT. ZEIRA TDE CHAMBER – FUTURE – LATER

The room is all about power: generators, transformers, etc. Lucy Ann(with crying Kitty) and PF E. Boykins stand on a platform.

A T-ZM3 endoskeleton works on controls as his eyes look at big monitor over head. On controls, we catch glimpses of buttons and read outs: **"DESTINATION," "DATE," "TIME JUMP COUNTDOWN"...**

CLOSE ON PF E. BOYKINS as he determines. The picture of Allison in his memories flash into his mind- (and with voices over)

...at Bunker Eagle Rock, their first meeting, Stefan at that time on top of Allison. Allison's hands have wrapped around his back as they are in an unexpected embrace. They look in each other's eyes like he's getting into his mind.

PF ALLISON (V.O.) (cont'd)  
Thank you for saving my life.

...at Battle of Palmdale. They both run together in the battlefield with their plasma guns. They stare in each other's eyes as they hide.

PF ALLISON (V.O.) (cont'd)  
Thank you so much, Stefan. I love you. I think  
I fall in love with you, Stefan. You're  
chivalrous. Man like you is hard to find.

...at the Mess Hall in 2027. He's drunken. She wraps her arms around his torso, tries to reconcile him.

PF ALLISON (V.O.) (cont'd)  
I'm sorry for that, Stefan. I never think that you're  
dirty. I never think that you are disgusting. You're  
so gentle. I like or even love you.

...at the room with Allison. Her eyes look at his as he proposes for engagement with necklace.

PF STEFAN (V.O.) (cont'd)  
Alise, I love you so much. I love only you.  
I can't find any rings around here. This is  
for our engagement. I love you.

...Allison and Stefan in their first sex. She locks her eyes with his with her trust and love.

PF ALLISON (V.O.) (cont'd)  
I love you too. We belong together.

...at the cliff in his dream, she has tears. He wipes them.

PF E. BOYKINS (V.O.)  
I want your kiss, your touch, your embrace,  
your love and your heart. They are all I  
haven't gotten for 49 years.

...as they hook their fingers together with happy smiles.

PF ALLISON (V.O.)  
Promise me. You will protect this land.

PF E. BOYKINS (V.O.)  
I promise you.

...as they kiss. ...as they touch each other. ...as they smile to each other. ...during their first meeting. These pictures run in his mind faster and faster and plays slowly at...

FLASHBACK TO:

EXT. CLIFF – DAWN

PF E. BOYKINS' POV.: PREVIOUS FUTURE ALLISON YOUNG, 19 years-old girl who had lived in tunnel, dressed in her BDU pants, black tank top and a leather jacket, sitting and looking down at him with tears on her face. Everyone knows that this is just an illusion in the deep of this tortured old man.

PF E. Boykins smiles so happy through his tears. He touches her face, feeling its softness. His brain speaks that it's real.

PF E. BOYKINS  
(crying)  
I'm sorry. I'm so sorry, Allison.

PF ALLISON  
I never was angry of you. I just miss you.

PF E. BOYKINS  
I miss you too.

TIME CUT:

PF Allison touches his cheek. They lock their eyes, all with love, trust and worry. PF Allison looks down at him and looks to the cliff and back to him.

PF ALLISON  
It's been so long.

TIME CUT:

PF Allison kisses on his forehead, he feels it real.

PF ALLISON (cont'd)  
I tried all my best. I'd hoped that you  
would die and we would see each other but  
you traveled here and changed everything.  
We can't meet or even see anymore.

PF E. BOYKINS  
I'm sorry for that, Allison. I love you.

PF ALLISON  
I love you too.

PF Allison leans and kisses his lips. She pulls back before he can kiss her back.

TIME CUT:

PF ALLISON  
Now, you are gonna save my people. I know it's  
really hard for you to kill Thais. I understand.

PF E. BOYKINS  
Promise me. We will see again.

PF ALLISON  
I promise. I still love you anyway. I'll wait  
for you. I wil always even it'll be very very  
long time. I won't love anyone else.

PF E. BOYKINS  
So will I.

TIME CUT:

His tears flow. PF Allison wipes them.

PF ALLISON  
Be stronger. It's all the past.

PF E. BOYKINS  
You can go now.

PF ALLISON  
Please remember that you are always in my heart.

PF E. BOYKINS  
You too. Good luck.

PF ALLISON  
Good luck, Stefan.

PF Allison walks away and disappears into the forest. PF E. Boykins turns to the cliff but what sees, it's not the cliff, it's the burned city of Los Angeles. Everywhere is on fire. Screams and explosions can be heard.

PF ALLISON (V.O.)  
(filter in his mind)  
Promise me. You won't let this happen.

PF E. BOYKINS  
I promise you.

BACK TO PRESENT as the threads of electrical discharge dance about him and Lucy Ann.

PF E. BOYKINS  
(whispering)  
I promised you, Allison.

LUCY ANN  
What?

PF E. BOYKINS  
I should follow it.

PF E. Boykins steps out of the platform.

PF E. BOYKINS  
(to Lucy)  
Emma. Good luck with you.

LUCY ANN  
What are you trying to do?

PF E. BOYKINS  
I already promised her. Lucy, please say  
good-bye to both Stefan and Allison for me.

LUCY ANN  
No. Stefan, don't.

PF E. BOYKINS  
I must protect this land. Good bye, Emma.  
You are like my sister. I love you so much.

It's too late for Lucy to change his mind, the energy bubble fade from existence. PF E. Boykins has one mind. The bombs around TDE starts counting down.

PF E. BOYKINS  
For Allison...

FREEZE FRAME as PF E. Boykins runs to the door and it opens, the light shines in room at that time...this is like an end cover of a Marvel Comic book.

With the SOUND of a MASSIVE EXPLOSION...

FADE TO WHITE:

EXT. RUINED LOS ANGELES – FUTURE - MORNING

PF E. BOYKINS lays like dead on a trash pile and broken on the ground with several plasma wounds to his chest. His eyes still open. His hands are with plasma rifles.

PF ALLISON (V.O.)  
I'm so proud of you, Stefan. I love you.  
I promise we'll see each other again.

FLASH ON:

From F05E02 as PF Allison Young and PF Stefan kissing. They roll back and lock eyes with each other.

BACK TO PRESENT

PF E. Boykins' eyes close.

PF E. BOYKINS  
(weakly)  
I'm gonna see you, my love.

His breathing stops. Everything stops. The whole becomes peaceful. His tears flow from his closed eyelids as he dies.

PF E. BOYKINS (V.O.)  
I'll follow my promise. I will always.  
I always have. It's all for you, Allison.

CAPTAIN TRIPOOM picks PF E. Boykins up by the scruff of his neck.

PF E. BOYKINS (V.O.) (cont'd)  
Its reason is in three words: I love you.

CAPTAIN TRIPOOM crushes his neck. The last tear runs down PF E. Boykins' face and drops to the land. The hypnoses win in this future, don't them?

EXT. CIVIC PLAZA - DAY

The new-city downtown is both modern and stately. No building is more than eight stories tall. Most are made of brick or ceramic. The lines are clean. It's functional with an elegant style.

STATUES of PF E. BOYKINS and 19-year-old ALLISON YOUNG stand in the center of the plaza. There are big replicas of wedding rings on statues' fingers. This is what he wanted.

The plaza is populated mostly by humans, but some T-ZM5 endoskeletons also mill about. A few T-950s stand sentry around the perimeter. It isn't overcrowded.

A very happy man practically skips into the arms of old Savannah Wyman(50+). Old Patrick Wyman(50+) stands near them.

Then the trio look to the statues.

OLD SAVANNAH  
We'll always remember you.

FADE TO BLACK:

OLD SAVANNAH (V.O.)  
Thank you, Stefan. Allison.

SUPERIMPOSE: "To be continued..."

FADE OUT.

**END OF ACT 4**

**THE END**


	9. EP09 : The Warriors Three

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**Terminator:  
The Across Time Chronicles**

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**F05E09**

"**The Warriors Three"**

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**Written by  
Stefan1994**

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This document is fan-produced fiction based on the television series, Terminator - The Sarah Connor Chronicles, and a fan-made season of fan fiction, F03 and F04 Terminator - The Resistance Fighters Chronicles, written by Stefan1994, eyeshieldTe and Mario28. This is done in spirit of fan fiction, to have fun and enrich the total fan experience beyond the limitation of the original story vehicle. In that spirit, and holding to the long tradition of free promotion. This story is being made available to the show fans for entertainment purposes.

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* * *

**TEASER**

WE OPEN ON:

EXT. SAN LUIS OBISPO - EVIDENCE OF EVOLUTION ARTWORK – NIGHT

Evidence of Evolution stands at the corner of a palm-lined street. Behind it are two-story apartments. TENDRILS of ELECTRICITY appear around the wheel and axle of the sculpture. The tendrils increase in number and intensity.

AN ENERGY BUBBLE appears on the pedestal and quickly grows- obliterating the sculpture-to a size suitable for containing a time-traveler. The grass lining the bubble burns.

The BUBBLE dissipates, revealing a naked LUCY ANN, kneeling on one knee and one arm holding KITTY FLORES.

Lucy Ann looks around and rises. She looks up to the sky.

LUCY ANN  
Great.

Lucy looks down to Kitty who looks up to her with a happy smile. Lucy smiles back and kisses on her forehead lovingly.

Lucy Ann runs across the empty multi-lane street to the nearby deserted shopping center.

EXT. S.L.O. GAS STATION – NIGHT

The area around the pumps is deserted and well-lit. There is just one car getting gassed up.

A guy wearing a RED-SHIRT puts the gas nozzle back on the pump. Red-shirt walks to the Mini-Mart.

INT. RED-SHIRT CAR – NIGHT

Red-shirt drives down an empty street. He eats a chili-dog. A mass of chili slips off the dog and PLOPS onto his lap.

RED-SHIRT  
Oh...son of a...

He takes another bite of the dog before setting it on the passenger seat.

EXT. STRIP MALL PARKING LOT – NIGHT

Red-shirt's car pulls into an empty parking lot.

INT. RED-SHIRT CAR – NIGHT

Red-shirt grabs the wad of chili from his lap and shovels it into his mouth. He looks at movement in his rear-view mirror. LUCY ANN with Kitty sits up from the back seat. They're clothed now.

RED-SHIRT  
What do you want?

LUCY ANN  
Please, I and my daughter need a transport.  
We were robbed. We don't have any money.

Red-shirt groans.

RED-SHIRT  
Damn it! Okay. Where do you wanna go?

Lucy Ann smiles gladly.

EXT. RENTED HOUSE – NIGHT

A truck parks in and MAGGIE MOON exits from the truck with SEVERAL GROCERY BAGS. She looks around before enters the house.

INT. RENTED HOUSE – NIGHT

TIGHT ON SEVERAL GROCERY BAGS covering the counter beside the hot-plate in the tiny kitchen. Maggie's hands split one open and its contents spill out.

STEFAN JR (O.S.) (cont'd)  
What's for dinner tonight?

FULL SHOT

Stefan Jr enters the kitchen and sees many instant food packages, three bottles of wine and a lot of snacks.

STEFAN JR  
Spaghetti. Steak. Instant noodle.  
Canned fish. Jelly. Pancake. Egg.

MAGGIE MOON  
I think I forget milk.

STEFAN JR  
Kids need it.

MAGGIE MOON  
Never mind. I'll get out again.

STEFAN JR  
No. Please don't. I and uncle Kyle are  
about to go out for some money definitely.

MAGGIE MOON  
After dinner?

STEFAN JR  
Yes. But maybe you have to tell me  
what else you forget buying. We'll  
get them back if we really need.

There are also boxes of shotgun shells, road flares, tape, scissors, pans, a strainer and many other odd utensils, substances, chemicals.

STEFAN JR  
Wow! You are careful enough.

MAGGIE MOON  
Basically. Nitroglycerine. Bit more stable.  
I learned how to make it when I was a kid.

STEFAN JR  
Yeah. I remember that. We tried it together.

MAGGIE MOON  
(with a giggle)  
And it exploded before you.

Stefan Jr smiles.

STEFAN JR  
And you immediately took to infirmary room.  
Good experience during childhood, isn't it?

MAGGIE MOON  
It was very excited and it alarmed me.

STEFAN JR  
Let's start. What do you want me to help?

MAGGIE MOON  
Nothing. Last time, you cooked for me. I vomited  
after eating it. I think I should cook it myself.

STEFAN JR  
Okay. So I should be encourager.

Stefan Jr. is about to exit but...

MAGGIE MOON  
Wait, Stefan.

Stefan Jr turns and finds her lips that place over his. Her kiss is passionate as their tongues fence and fight each other with sensual touches beneath their mouth. He licks and sucks this kiss very hot. His hands push her off lightly. They part.

STEFAN JR  
What else I should do?

MAGGIE MOON  
Just wait.

STEFAN JR  
Thank you.

MAGGIE MOON  
I'm gonna be your wife, Stefan.

He just smiles and leaves her.

INT. PICHITCHAIS' APARTMENT – DAY

SUPERIMPOSE: "BANGKOK, THAILAND"

FULL SHOT of a deluxe condominium. The room is about 80 square meters. Bookshelves along left side wall. Three big bed for three people. Big wardrobe. A lot more things for the psychic family. Some room dividers separate the room into a bathroom, an office and a simple kitchen.

STEFAN(9)dressed in pajamas, sitting and looking into his laptop. His father, GENERAL ANONGSAK PICHITCHAI, gets out from the bathroom and looks onto his monitor.

PICHITCHAI  
(in Thai)  
"Wow! That's a good model."

STEFAN  
"Yes, dad. And I'm finding the one that  
matched for his system. I'm programming."

PICHITCHAI  
"I know how hard for you to lose a friend."

Stefan shuts down his PC.

STEFAN  
"Dad, once again. I wish to know why you  
are so sure that we already won the game  
of Jack. I know he's still alive."

PICHITCHAI  
"I sensed him in many places around the  
world. I can't really be sure which one  
is the one we really want to kill."

STEFAN  
"Kill them all."

PICHITCHAI  
"It won't be good to us if we kill too many."

STEFAN  
"Dad, how can you and mom meet?"

Pichitchai sighs. He walks to sit beside his son.

PICHITCHAI  
"I went to Los Angeles to study computer science  
there and I met her. She was so beautiful at  
that time. She had worked at a Thai restaurant.  
We had few weeks together as close friends then  
I went back to Thailand and signed on military."

Pichitchai looks so proud with the past of his life.

STEFAN  
"Why?"

PICHITCHAI  
"I thought my military ranks must be high enough  
before I proposed marriage. I trained hard to be  
a good soldier together with got pass a lot of  
test for promotion. I became a Lieutenant Colonel  
then I asked for the hand of her in marriage."

STEFAN  
"And three years later, I was born."

PICHITCHAI  
"Yes. That is very pround. Every father  
always wants a son and you are my first  
and my best. I never had to be serious  
when you were at school. You always get  
good grades from every subject."

STEFAN  
"And a lot of mates are afraid of me.  
They have been since that fake teacher  
entered my English class and aimed his  
pistol at me and opened fire but I could  
destroy him without any weapons."

Pichitchai has a few tears on his face dropping. He pulls Stefan into his embrace.

PICHITCHAI  
"I'm sorry. It's because of me."

STEFAN  
"No, father. It's not because of you. I could  
remember all their names. It's all their fault.  
Dr. Fadoric Van Meter, Kittichai, Kornawutt,  
Ishimato, Dr. Ginyose, Namato and Minasaki."

PICHITCHAI  
"I understand how hard for you to live with our  
enemies around. I swear I'll try all the way to  
make you get along well with other people. I  
won't balk you when you fall in love with a  
girl, when you get a job and when you want  
to learn or study things."

STEFAN  
"Thank you, father."

Stefan hugs his father with love and trust. Everything seems very bad to him but his father is usually with him. A while later, they separate.

STEFAN  
"Father, tomorrow my semester will end. I really  
want to go there. Can you take me there, father?"

PICHITCHAI  
"As long as I clear everything in Psytech Corp.  
There are now few problems about shareholders."

STEFAN  
"Who do you think that should be new CEO?"

PICHITCHAI  
"Psytech Corporation has belonged to me and  
you after she died. Half of Manny's share  
is legally mine and another half, yours.  
But you are too young, they have thought."

Stefan smiles happily.

STEFAN  
"I think you are not good enough at telepathy."

PICHITCHAI  
"What? You changed topic?"

STEFAN  
"Yes. I think you aren't really good at  
telepathy. I've sensed John Connor and  
his friends since two hours ago. I'm not  
sure. But I don't know why I'm still be  
able to sense persons when my brain has  
not been completely repaired yet."

PICHITCHAI  
"What are you thinking?"

Stefan looks serious.

STEFAN  
"I think Skynet isn't dead."

EXT. SIDEWALK – NIGHT

ALLISON PICHITCHAI wheels E. BOYKINS along the sidewalk. He has a new wheelchair.

ALLISON  
What do you think when I hit them?

E. BOYKINS  
Your skills are as good as you were freshly  
trained. You moved the cape as fast as I can  
but I think you should train more than this.

ALLISON  
Okay. I will.

E. BOYKINS  
Have you completely done it?

ALLISON  
I burned them. Are you sure that we  
did the right thing? Will John be?

E. BOYKINS  
He knew it already. I think we  
have to get back faster.

ALLISON  
Why?

E. BOYKINS  
Because I'm so hungry.

Allison turns a corner.

INT. RENTED HOUSE – NIGHT

Allison and E. Boykins enter the house.

ALLISON  
Wow! What is this smell like?

E. BOYKINS  
Worms in blood.

ALLISON  
Let's go.

Allison quickly wheels E. Boykins into the kitchen.

INT. KITCHEN – NIGHT

Stefan Jr and Kyle Reese are at table. JOHN CONNOR supports CAMERON CONNOR from backdoor into the kitchen. They sit at table. E. Boykins and Allison go to table.

JOHN  
(to E. Boykins)  
Is it done?

E. BOYKINS  
Buddhist cremation. Sorry, we can't really  
find a priest for Christian ceremony at  
this time. Bonilla wasn't there.

JOHN  
Never mind.

E. Boykins' stomach rumbles with hunger. Everyone notices that.

ALLISON  
(with a giggle)  
I think you are really hungry.

MAGGIE MOON  
You don't have to wait so long.

Maggie serves them plates of spakhettti with sauce before she sits down at the last seat.

MAGGIE MOON  
I think this will be so good.

First, E. Boykins tastes it hungrily.

ALLISON  
(re: E. Boykins)  
I think he's really very hungry.

E. BOYKINS  
Mmmmm! It's good. Mmmmm!

Then Allison's stomach rumbles with hunger.

ALLISON  
I think I should eat too.

There's LAUGHER. This dinner seems so happy to them. WE WHIP PAN AROUND TO see the T-888 cyborg- NEVLIN GLAU who has watched them with a small smile on his face.

INT. SERVER ROOM – NIGHT

CATHERINE WEAVER and MATT MURCH enter the room where JOHN HENRY is sitting in.

CATHERINE  
John Henry, you called us?

JOHN HENRY  
Yes. I have found him.

MURCH  
Him? Who?

John Henry turns to his screen which shows a picture of JACK VAN METER with RICHARD ELLISON in front of an apartment.

JOHN HENRY  
They may be going to do after their plans.  
We have to stop them before they will be  
able to successfully develop my brother.

CATHERINE  
I'll go.

JOHN HENRY  
Good. But you should get to 18 Richmond  
Street, Heritage Park first. You have an  
appointment there. She will be waiting.

CATHERINE  
As your wish, son.

Catherine smiles. Murch looks ready to hunt Skynet from now on.

* * *

**ACT 1**

**(The long road)**

INT. TAXI - NIGHT

Through the WINDOW of the TAXI we see MADISON SQUARE GARDEN.

As it pulls up, a sign reads, "Midnight Madness! Wrestling of madness!" The TAXI come to a stop.

KYLE  
(looking up at the sign)  
Wrestling?!

STEFAN JR  
(getting out)  
That's the place. Pay the man.

Stefan Jr gets out, he is carrying a BOX.

KYLE  
Look, Stefan... I'm not real interested  
in watching a wrestling match.

STEFAN JR  
Who said anything about watching a wrestling  
match? You're here to win a wrestling match!

KYLE  
Me? You must be kidding.

Stefan Jr hustles Kyle inside.

STEFAN JR  
You hop around. You know, the way you did last  
night. Your opponent gets tired. He falls down.  
The ref counts to three, you win, and we pick  
up a thousand bucks.

INT. CATACOMBS MADISON SQUARE GARDEN - NIGHT

We can hear the CROWD screaming at something in the background as Stefan Jr leads Kyle to an employee WASHROOM and shows him the BOX.

STEFAN JR  
You're really gonna love this.

KYLE  
Look, really, I don't know...

STEFAN JR  
You don't have to know. I know enough for both of us.  
(pause)  
Change in there.

KYLE  
What is this?

STEFAN JR  
A costume...something that fits your talent.  
Go put it on. I'm sure you'll like it.

He slaps the BOX against Kyle's chest and all but pushes him inside.

INT. WASHROOM - NIGHT

Kyle takes the suit out of the BOX. It is just a sound Kevlar/Nomex blend, shock-absorbing round neck costume. It has blue circle in the center of khaki suit. Gloves are blue. Trousers are black. He looks at it and shrugs. Then he begins to struggle into it.

Kyle is looking at himself in the MIRROR. He is dressed in all but the MASK. The mask is a bit like Captain America's mask but only the whole is Grey with small fronts for: "Hang in there". And he looks terrific! He flexes. He smoothes his hair. He's starting to get into it.

INT. THE ARENA - NIGHT

THE WRESTLING FIGHTER is destroying an opponent.

INT. THE CATACOMBS - NIGHT

Stefan Jr winces as the CROWD CHEERS and BOOS.

KYLE  
(comes out)  
How does it look? I feel like it's Halloween.

STEFAN JR  
Cover your face with the mask.

KYLE  
Why?

STEFAN JR  
Mystery, my friend. Nobody should know  
who you are and there is a Gray here.  
You just have to get his attention and  
I'll get close to him easier.

KYLE  
Oh! Okay. I understand.

STEFAN JR  
So get this done.

INT. THE RING - NIGHT

THE WESTLING FIGHTER is doing a big flexing number and the CROWD is going wild. There are CAMERAS, SIGNS and BANNERS everywhere.

RING ANNOUNCER  
And now, a new challenger, for the thousand dollar  
fight, weighing in at one hundred and fifty pounds.  
From parts unknown! Here is the Title Soldier.

STEFAN JR  
(snorts from ringside, hating the name)  
No, not Title... Titor...TITOR-SOLDIER!

RING ANNOUNCER  
...Titor-Soldier!

The CROWD BOOS the slender newcomer who climbs awkwardly through the ropes. Rock music blares. TWIN REDHEADS in RED BIKINIS ring a bell.

ANGLE ON A CORNER OF CROWD and we see VICTOR WALLACE(F03E12) watching the fight calmly.

THE WRESTLING FIGHTER and KYLE REESE aka TITOR-SOLDIER circle. The wrestling is twice the soldier's size. TITOR spots a CAMERA for the first time. He momentarily freezes. Fighter sneers. Then he charges!

Titor quickly leaps out of the way. Fighter comes back at him. Titor leaps again, higher.

TITOR-SOLDIER  
I think this suit make me a bit lighter.

The acrobatics get more and more dramatic as fighter works himself up into a theatrical rage. Taunts erupt from the CROWD.

OLD LADY  
Kill the bitch, big son.

Titor-Soldier, really getting into it now, begins playing for the CAMERAS.

MAN  
What's matter? Can't you kill this guy?

FIGHTER  
(to Titor)  
Okay, rank and file, this is it.

The fighter misses Titor again.

INT. JOHN/CAMERON'S DORM ROOM - NIGHT

John and Cameron sit on the bed watching the fight on TV.

JOHN  
Look look at this Soldier guy! His skill  
is like Kyle's! But I think that costume  
is very familiar.

CAMERON  
Maybe he is really Kyle Reese.

John looks at Cameron who smiles.

INT. RING - NIGHT

The match continues in an increasingly spectacular choreography. FIGHTER bellows at the SCREAMING CROWD. But there's a gleam in his eye. This is it! He charges. TITOR, playing the CAMERAS for all he's worth, leaps way, way up. But this time FIGHTER stops dead in his tracks. Titor-Soldier comes back down into a forearm SMASH that sends him reeling into a corner. The fighter does a flying pin. 300 pounds. WOMP! The air leaves Titor-Soldier in a rush as fighter covers him, smothering him. The CROWD goes WILD.

REF  
One...! Two...!

Titor-Soldier's elbow smashes fighter's chin. Then another elbow smashes his nose, leaning him down to face with Titor's header. Titor tries hard until he can crawl out of that painful fighter.

Now it's his turn.

Fighter rises. Titor drops a punch and fists at his stomach. Then he jumps, kicking-walks on the fighter's torso and face before lands on the arena again.

TITOR-SOLDIER  
You haven't known me yet.

Titor kicks him and headbutts him. The fighter punches back but Titor leaps out of the way.

TITOR-SOLDIER  
This way, idiot.

FIGHTER  
I'll kill you.

Fighter runs to him, Titor spins and thrashes a leg at him which he can catch it. Titor spins again. His other leg kicks at the fighter's forehead, causing his leg lose from his hold.

Titor runs toward the fighter who is out of breath, and flips him with his leg. Titor rolls, rises and jumps in the air. Both of his knees fall on the fighter's chest.

Now Titor covers fighter.

TITOR-SOLDIER  
(panting)  
Counting now, ref.

REF  
Okay. One...Two...

OUR CAMERA PAN around as ref continues counting, to the location of Victor. Stefan Jr appears behind him.

STEFAN JR  
(whispering)  
I think you really need a real fight, Mister.

VICTOR  
Who are you?

Stefan Jr's hand touches Victor's head and he quickly does fingers-to-temple gesture.

STEFAN JR  
(whispering)  
You will know soon.

Victor's eyes close and he drops to floor. People around turn to look at them.

STEFAN JR  
(to other)  
Oh! This is my friend. I can handle this.

They turn to look at the arena again as Stefan Jr quickly holds Victor and takes him out of this area.

BACK AT TITOR-SOLDIER as we hear bell of victory.

REF  
Ladies and Gentlemen, history is made today, we  
have here the first man to win a thousand dollars  
against the mighty fighter.

The REF raises his hand in victory. The CROWD BOOS and DEBRIS rains down. But some in the CROWD CHEER wildly, recognizing the new sensation.

Stefan Jr comes. Titor-Soldier steps down from the right as Stefan Jr leads the CHEERS.

TITOR-SOLDIER  
Stefan! Am I really gonna get a thousand...

STEFAN JR  
We are going to get a thousand-

Titor turns with Stefan Jr and comes face to face with the fighter. Two ominous beats.

FIGHTER  
Hi, who are you, boy?

Titor smiles friendly.

TITOR-SOLDIER  
I'm Kyle Reese.

STEFAN JR  
He is Titor-Soldier, and I handle him. Whenever  
you want a rematch call me. Next time it's gonna  
be ten thousand, what do you say... fighter?

FIGHTER  
Oh! My name's Daniel Cruze.

TITOR-SOLDIER  
Oh, look, Mr. Cruze, I'm really sorry about  
what happened in there. Really sorry.

DANIEL  
Oh, well, I don't know what happened to me tonight.  
(measures his muscles)  
I really don't know. It's fast and amazing.

STEFAN JR  
I know. You lost. Big man you lost to Titor-Soldier.

Daniel smiles and walks off.

TITOR-SOLDIER  
(whispering)  
Did you get him?

STEFAN JR  
In the car now.

TITOR-SOLDIER  
The car?

STEFAN JR  
I have to steal it and use my mind to  
control it to take us here. Before you  
won, I had taken him into that car.

INT. CAR – NIGHT

Stefan Jr and Titor-Soldier enter the car. Titor's eyes land on unconscious Victor in the passenger seat. Stefan Jr is looking around the car.

TITOR-SOLDIER  
Will he wake soon?

STEFAN JR  
Brain sleeping. It's hard to wake.

TITOR-SOLDIER  
You are talented psychic.

Stefan Jr stops and smashes the cowl around a steering column with his mind.

STEFAN JR  
Let's find a shop. We have to buy milk,  
some fruit juice and some more steak.

It shatters he strips it away with a single move, and then turns the stub of the lock-mechanism. This starts the vehicle.

TITOR-SOLDIER  
I don't know why I can do all that.

Kyle puts off his mask as Stefan Jr drives the car away from the place. Kyle throws it back behind him.

KYLE  
I like this suit very much.

STEFAN JR  
But at first.

KYLE  
I don't know but I felt myself lighter when...

STEFAN JR  
I just helped you that time.

KYLE  
And it seems very fun tonight.

STEFAN JR  
I think so.

INT. NEW SKYNET LAB – NIGHT

The room is a 3-d interconnected computer with cubes attached to cubes attached to cubes, like a giant molecule. It's like the old Skynet lab but the technologies seem to have been upgraded and the room is very large(larger than the old one). There are a table and a chair at the center of the room. Sitting on the chair, is a unknown model cyborg(or maybe it's MPA terminator) that looks just like Miles Dyson. We suddenly know that this terminator is an avatar of SKYNET V.2. It seems that they don't

keep the CPU here.

AT THE DOOR. It automatically opens and RICHARD ELLISON and JACK VAN METER enter. Richard seems very surprised with this lab. Jack and Richard walk toward and face Skynet V.2's avatar. However, Skynet still uses Miles' voice to be its main techno voice.

SKYNET  
(smiles)  
Good evening, Mr. Van Meter.

VAN METER  
Good evening, my best friend.

RICHARD  
Is this what we have talked about?

Richard looks at Skynet with pride.

VAN METER  
Skynet, this is Mr. Richard Ellison.

Skynet smiles to Richard who smiles back.

SKYNET (cont'd)  
Good evening, Mr. Ellison.

RICHARD  
Good evening. Skynet?

Skynet nods and turns to Jack.

SKYNET  
Mr. Van Meter. I can't understand anyway  
why I have to control so many weapons in  
this body. I can't draw them out.

VAN METER  
Next generation, Skynet. Our plan is to  
make you indestructible. We can lie to  
Dr. Logan to create liquid metal for us.

SKYNET  
You mean the prototype?

VAN METER  
Your body will be successfully developed soon.  
And from now on, Mr. Ellison will be here to  
help me developing you and help us testing  
the indestructible liquid alloy after all.

SKYNET  
Nature of humans is weak.

VAN METER  
But we are going to change it anyway.  
We'll become God of this world and you  
will be our Allfather for our Asguard.

SKYNET  
Asguard? Thor was released today.  
I kept watching it two hours ago.

Jack and Richard share a fun look.

RICHARD  
(to Skynet)  
And I really wanna be your destroyer.

VAN METER  
(to Richard)  
Are you sure? This test is very dangerous.

RICHARD  
Next generation, Mr. Van Meter. Next generation.

SKYNET  
All Kalibaium is ready. Do you want to start now?

RICHARD  
I think we should test with my friend at first.

SKYNET  
Cloning. I think it should work.

AT THE DOOR. It automatically opens and another RICHARD ELLISON enters the room. Everyone turns to look at him.

RICHARD'S CLONE  
Good evening, everybody.

CLONE OF RICHARD smiles oddly.

INT. SURGICAL PREP ROOM - NIGHT

The clone of Richard, wearing a hospital-style robe, stands by the closed door. Skynet enters the room.

SKYNET  
You ready?

RICHARD'S CLONE  
(coldly)  
Yes.

INT. SURGICAL THEATER - LATER

Skynet and two MEDICAL TECHNICIANS accompany Richard's clone to a water-filled plexiglass tank the size of a lidless coffin. An array of stainless-steel machines crowds around the tank, including a series of robotic arms that taper into foot-long needles. One wall of the theater is black glass. Behind the glass is the control room, where real Richard looks on, hands behind his back. Jack Van Meter and several SUPPORT STAFF enter data into computers monitoring the experiment. Richard's clone removes his robe and hands it to Skynet before stepping into the tank of water.

RICHARD'S CLONE  
See you on'the other side.

One of the technicians fastens a breathing tube, connected to an oxygen tank, to Richard's mouth. Richard lies down, submerging himself in the cold water. The technician clamps Richard's wrists and ankles into place with stainless-steel shackles bolted to the plexiglass walls. Richard's eyes are open as he watches the robotic arms swivel into place, poised above him like a gang of metal vipers.

VAN METER  
Feed lines clear?

TECHNICIAN #2  
Lines one through twelve clear.

VAN METER  
Prepare insertion.

Richard lies underwater, watching as the robotic arms descend toward him. The needles begin to spin at high speed, like massive power drills. They churn the water when they enter.

CLOSE on his eyes as the needles enter his body. The man has suffered gunshots and knife wounds, car crashes and bottles smashed across his face. He has never suffered this. He closes his eyes.

INT. CONTROL ROOM - CONTINUOUS

VAN METER  
Commence feed.

The technicians enter commands, watching close-up images of the procedure on their monitors.

INT. SURGICAL THEATER - CONTINUOUS

Richard writhes in the tank. Twelve long needles have drilled into his bones, including his skull.

TECHNICIAN #1 (O.S.)  
Feed commenced at a rate of twenty  
nine cc's per second.

TECHNICIAN #2 (O.S.)  
Density probe indicates preliminary  
chelation of the compact tissue.

VAN METER (O.S.)  
Body temperature?

SKYNET (0.S.)  
One zero two point three.

VAN METER (O.S.)  
Heart rate?

SKYNET (O.S.)  
One sixty.

Richard spasms in the tank like a man being electrocuted.

SKYNET(O.S.)  
Heart rate one ninety.

VAN METER(O.S.)  
Density?

TECHNICIAN #2 (O.S.)  
Four four seven.

Richard thrashes in the tank, his convulsions increasingly violent, his eyes rolling back in their sockets. The water in the tank begins to steam.

VAN METER  
Body temperature one zero eight.  
Heart rate two ten.  
(to technician #1)  
You know what to do.

Technician #1 looks confused. Jack and Skynet leave the way.

TECHNICIAN #1  
Sir, where are you going?

All technicians look at them.

Crazed with pain, he carves through the walls of the plexiglass tank. Steaming water cascades onto the poured concrete floor. Bursting free of his restraints, Richard punches through the robotic arms. Sparks dance like a swarm of fireflies. The dismembered machines twitch like wounded beasts. Richard rises from the broken tank, drenched with water, naked save for dozens of long stainless steel needles drilled into his body and the wires and hoses trailing from the needles. Hair matted to his head, eyes wild, face contorted, he looks like a strange amalgam of machine and crazy human. He tears the breathing tube from his mouth.

RICHARD  
Are you ready?

All technicians look around. Jack, Skynet and real Richard are gone. And they face this monster without weapons.

FADE TO BLACK:

With screams, cries of pain and punching and kicking...

INT. ALLISON/E. BOYKINS' BEDROOM – DAWN

Allison and E. Boykins are asleep side by side. E. Boykins wakens and sits up. He turns to look at Allison with a happy smile but Allison doesn't look good. She coils up. Her brows show painful.

E. BOYKINS  
Allison. What happened to you?

E. Boykins touches her forehead then he quickly pulls his hand back. His fear is up as Allison winces.

E. BOYKINS  
(re: Allison's forehead)  
It's so hot. Feverish.

ALLISON  
(numbling in sleep)  
Stefan, It's very hot. Please I need your help.

E. Boykins reaches his hand, the wheelchair wheels to him and he gets onto it as fast as he can and suddenly pushes toward the small bathroom. He uses a bowl to receive the water from the tap. A towel flies onto his hand and he dips the half of it into the water and twists it damply.

ALLISON  
(numbling in sleep)  
Stefan, help me please. I'm on fire.

He pushes the wheelchair back with a bowl of water on his laps. His mind controls it steady as his hand holds the towel firmly.

E. BOYKINS  
Allison, please endure it. I'm here.

E. Boykins gently rubs her forehead then he starts with other parts; such as her arms, her neck and her armpits. E. Boykins blankets her and does more than these things, trying hard to reduce her fever.

E. BOYKINS  
You will be okay, sweetie.

His hand touches her forehead again but her fever haven't been reduced yet. He dips towel into water and twists it damply again. He gently rubs it around her body to reduce her fever.

E. BOYKINS  
How can you be like this?

ALLISON  
(numbling in sleep)  
Stefan, it's cold.

E. Boykins covers her with another blanket in the room. He looks very worried about this.

**END OF ACT 1**

* * *

**ACT 2**

**(Allison's fever)**

INT. ALLISON/E. BOYKINS' BEDROOM – LATER

E. Boykins puts a cool towel on Allison's forehead. Cameron and John have been already in the room. E. Boykins is tearful.

E. BOYKINS  
Allison, what is happening with you?

CAMERON  
Maybe she is unused of time travel.

JOHN  
The side effect, I think so. Previous future  
Derek ever told me that the first day he and  
his team arrived in 2007, they vomited all day.

E. Boykins suddenly looks at them.

E. BOYKINS  
What about me? This is my first time too.

JOHN  
I don't know. It never happened to me when I,  
mom and Cameron had jumped to 2007 together.

CAMERON  
The side effect is unusual. It can happen  
to every person. Skynet never do research  
about this because it didn't want to send  
human back like we did.

E. BOYKINS  
I can't really see her like this all day.

E. Boykins touches her forehead and around her arms.

E. BOYKINS  
Her fever is reduced. I think she'll be  
alright. Thank you for your tylenol.

Cameron yawns.

CAMERON  
I think I should go to sleep.  
Can you take care of her alone?

E. BOYKINS  
I can do everything for her. Please go  
if you want. I'll pay my time for her.

Cameron smiles thankfully. Then John and Cameron exit. E. Boykins looks back at Allison who winces. He holds her hand.

E. BOYKINS  
You will be okay. I'll be here.

There's a knock on door.

NEVLIN (O.S.)  
Sir, it's me.

E. BOYKINS  
Come on in.

NEVLIN GLAU opens the door and enters the room.

NEVLIN  
You called me?

E. BOYKINS  
I did. How are kids?

NEVLIN  
Deep in nursery, sir.

E. BOYKINS  
Good. Glau, I need you to go for tylenol.  
Just buy it. Don't steal. You understand?

NEVLIN  
I do, sir.

E. BOYKINS  
You can go now.

Nevlin exits and closes the door. E. Boykins keeps his eyes on only Allison.

INT. JOHN HENRY'S ROOM – MORNING

SARAH CONNOR and JAMES ELLISON enter the server room, seeing John Henry playing chess with MIA LINDOW.

JOHN HENRY  
Good morning, Ms. Connor. Mr. Ellison.  
How are both of you this morning?

SARAH/ELLISON  
I'm fine. Thank you, John Henry.

Mia turns to them with a smile. Sarah smiles back.

SARAH  
Hey! You, girl woke fast?

Mia smiles again.

MIA  
I'm sorry, Miss. I never sleep.

Mia flashes electric blue eyes. Both Sarah and Ellison can realize this.

SARAH  
You are pretty good liar.

MIA  
I never told you that I am a human.

JOHN HENRY  
What do you want this morning?

SARAH  
I just need more information about  
Skynet core in Vancouver, Canada.

JOHN HENRY  
It hasn't been installed yet. I already  
checked every camera in Vancouver city.

ELLISON  
And about another one in Atlanta?

JOHN HENRY  
Catherine Weaver has been going.

John Henry's eyes lead them to look at the screen that shows: a full map of Atlanta. And the blue dot is in Hertage park now.

JOHN HENRY  
The blue dot is where Catherine is now.

ELLISON  
Where did she get out of here?

JOHN HENRY  
At 1 A.M.

SARAH  
So you all know as well where all Skynet  
cores are why you haven't done all this  
without us? You are machines, better at  
fighting and tracking.

JOHN HENRY  
There still cores around the world. We can  
separate to so many places. Catherine is there  
only for situation report. And we have to make  
sure every core is installed and we shall be  
able to destroy them all in time before J-Day.

ELLISON  
Who are Grays now? I mean this time.

JOHN HENRY  
Wallace Victor. Dr. Early Logan. Ginyu  
Brooke. Jack Van Meter. Richard Ellison.

ELLISON  
My brother?

Sarah's eyes are gotten on Ellison. John Henry's screen shows a picture of Richard Ellison.

JOHN HENRY  
Richard Ellison was persuaded by Jack Van  
Meter into project Dark Private in 2011.

SARAH  
Another Skynet pet project?

JOHN HENRY  
Yes. It was commonly known as HD.

ELLISON  
Hybrid Development?

JOHN HENRY  
It summerized all researches Skynet have done  
with humans such as liquid metal alloy project  
of Dr. Early Logan, Kalibaium alloy of Juan  
Lopez and mini carbonadium synthesizer model  
for Kalibaium of Deacon Sandhip.

SARAH  
So Skynet has been trying to use humans  
as best soldiers because it can't trust  
even the same side, right?

JOHN HENRY  
Yes. Its force can be reprogrammed easily.  
Hybrids and liquid metal have to be the  
last thing it can trust more than other.

SARAH  
And how could you win Skynet? I mean  
in the future you came from. How?

JOHN HENRY  
We had many friends help us. Asian force  
destroyed its core in Lake Baikal, Russia.  
South Africans destroyed one in Mecca.

SARAH  
And you and my son destroyed two in America.

John Henry smirks.

JOHN HENRY  
Yes. So we have to work together. Humans and  
machines co-operate for the Utopian future.

ELLISON  
John Henry, what can we do now?

JOHN HENRY  
After destroying Skynet core in Atlanta, we'll  
be so sure that Kaliba's next target will be  
here. The real battle will be started.

SARAH  
So I'm waiting.

JOHN HENRY  
Your son and your in-law will be here today.  
As I said, we have to regroup and co-operate.

PICHITCHAI (O.S.)  
Yes. I think so.

Everyone turns to find Pichitchai and Stefan standing in the doorway with MATT MURCH and SEMINA CRUEL.

PICHITCHAI  
So you are John Henry, right?

JOHN HENRY  
Yes, Mr. General. I saw you would come.

STEFAN  
You sent me an e-mail last night.

JOHN HENRY  
Are you sure you want to continue your  
research for Lampage Moore, Stefan?

STEFAN  
Sure. I still want my friend back.

JOHN HENRY  
Stefan.

STEFAN  
What?

JOHN HENRY  
You like chess?

Stefan smiles playfully and walks to the table. Mia leaves her chair for Stefan. They smile when the boy starts playing chess with a machine.

INT. KITCHEN - RENTED HOUSE – MORNING

Plates of pancakes and a gallon of milk are already on table where Stefan Jr sits at. MAGGIE MOON chefs about as John supports Cameron into the room.

STEFAN JR  
Good morning Mr. and Mrs. Connor.

JOHN/CAMERON  
Good morning, Stefan.  
(to Maggie)  
Ms. Moon.

MAGGIE MOON  
How is she? This morning we have soft-boiled  
rice mixed with shrimps and pancakes and milk.

JOHN  
Allison is sick.

STEFAN JR  
We already know that.

John and Cameron turn back at Stefan Jr who shrugs.

STEFAN JR  
I can sense it through my mind.

Kyle enters the room, looks happier than yesterday.

KYLE  
Morning, John. Cameron. Allison and Stefan?

STEFAN JR  
Grandma is sick. Grandpa want to look after  
her until she's okay. We'll serve them soon.  
Please have you breakfast first.

KYLE  
Let's eat. Then I'll train more.

JOHN  
Train what?

KYLE  
I just tried to forget her, John. I know it's  
hard. I'll try. It's like you said. Your mom  
might not want anyone to cry for her. I'll  
start my new life for her.

John smiles proudly to Kyle.

JOHN  
Is this new Kyle? Wow! I think this one looks smarter.

CAMERON  
Honesty. I think so. You look smarter.

KYLE  
Thank you.

MAGGIE MOON (cont'd)  
And I think new Kyle need breakfast.

Maggie Moon serves two bowl of soft-boiled rice mixed with shrimps for John and Cameron who sit on their seats. Kyle sits down. Maggie gets other two bowl and serve one for Kyle and another for Stefan Jr. Finally, she gets last one for herself.

JOHN  
Mmmm! Taste good. Could use some more salt.

STEFAN JR  
Please be careful, Mr. Connor. Salt can give  
you kidney disease. Yesterday, you also asked  
for it and you used it too much.

CAMERON  
He was right, John?

JOHN  
Okay. I'll try to diet salt.

Cameron smiles, that's very valuable to John. He puts down the salt cruet.

INT. ALLISON/E. BOYKINS' BEDROOM – MORNING

E. Boykins is trying to reduce her fever with the same way he ever did. Allison's eyes open and find that he's beside her.

E. BOYKINS  
Hey! You waken.

ALLISON  
(weakly)  
Stefan, what happened to me?

E. BOYKINS  
Your body is gonna acclimate soon. This is  
another side effect from time travel.

ALLISON  
(weakly)  
Since when you have tried to reduce my fever?

E. BOYKINS  
Allison, please don't ask me about that. I can  
do this all day. I just wanna see you better.

E. Boykins dips towel into water and twists it damply again. He gently rubs it around her body to reduce her fever. Allison holds his hand, stopping him.

E. BOYKINS  
What's wrong, Allison?

ALLISON  
Don't do this to me. I'll be better.  
You should have breakfast before.

E. BOYKINS  
Allison, I can't eat if you still have fever.

ALLISON  
Look at me, Stefan. I'm okay.

E. BOYKINS  
No. Please. I want this.

Allison releases his hand. He continues reducing her fever.

E. BOYKINS  
(explaining)  
I have to rub harder, Allison. Rub from upper  
to lower, opening your hair follicles. With  
this way, your fever will be reduced easier.  
Your body will release temperature fast when  
your hair follicles are open.

ALLISON  
Why do you really want to?

E. BOYKINS  
Just three words I say everyday, Allison.

ALLISON  
Which words?

E. BOYKINS  
I love you. You love to hear it everyday?

ALLISON  
Thank you.

E. BOYKINS  
You are welcome.

Allison looks at his hand that does it so gently.

ALLISON  
Please do it harder, Stefan.

E. BOYKINS  
I don't wanna hurt you.

ALLISON  
But this time, you really need to do it.

E. BOYKINS  
Okay. I will.

E. Boykins dips towel into water and twists it damply again. He rubs it harder around her body to reduce her fever.

E. BOYKINS  
(worrying)  
Did this hurt?

ALLISON  
You can do it harder.

E. BOYKINS  
Okay. Okay.

E. Boykins does as asked.

INT. BASEMENT – RENTED HOUSE – MORNING

CLOSE ON UNCONSCIOUS VICTOR who is tied with chair. Water is splashed at him, waking him up.

FULL SHOT:

Stefan Jr, Maggie, John and Kyle are standing before him. Victor looks around himself without fear but surprise. He looks up.

STEFAN JR  
Wallace Victor.

VICTOR  
Who are you? How could you capture me?

STEFAN JR  
We can do everything easily, Mr. Victor.  
Unless you are machines, we can kill you.

VICTOR  
You serve Sarah Connor?

JOHN  
That's what we shall.

Victor stares at John, remembers him.

VICTOR  
You are John Connor. How can this be possible?  
Van Meter told me that you and Weaver are dead.

JOHN  
Your drone can't kill me.

VICTOR  
My friends will be here and take me.

STEFAN JR  
Absolutely, they can't. I'd destroyed your  
transmitter before I took you here. We never  
want to kill you. We just need peace.

VICTOR  
Nothing you will get from me.

STEFAN JR  
We already got it. We got it when you just woke,  
when you just thought about the location of T-500  
factory in California. The construction has been  
being started. We know it already and know what  
Kaliba Group are thinking to do.

Victor can't really manage this. Stefan Jr stares into Victor's eyes, sensing his fear. John, Kyle and Maggie get out of the basement.

STEFAN JR  
Help us if you need to survive.

VICTOR  
I won't help you.

STEFAN JR  
You will anyway.

Victor spits at Stefan Jr who quickly avoids it. Stefan Jr slowly lifts his hand up.

STEFAN JR  
Maybe you will do everything I want without  
hesitation, determination and free will.

Victor glances sideways as Stefan Jr does the fingers-to-temple gesture and smiles subtly at him.

STEFAN JR  
It's time we turn the same machines turned to us.

Victor is agape as Stefan Jr's mind gets deeply through his mind.

EXT. HERITAGE PARK – DAY

We are inside the park. We see a woman who we can recognize who she is, standing in the center of the park –- CATHERINE WEAVER. She wears a common shirt with jeans, leather jacket and sun glasses. She has been waiting.

LUCY ANN (O.S.)  
So you are here.

Catherine turns to find Lucy Ann with sleeping Kitty.

LUCY ANN  
Sorry for this long waiting.

CATHERINE  
This girl?

LUCY ANN  
Kitty Flores. I helped her from two  
machines before I traveled back.

CATHERINE  
Do you have a plan on this girl?

LUCY ANN  
I had chatted with John Henry before I  
arrived here. We'll adopt this girl.

CATHERINE  
So is this John Henry's point to send me here?

LUCY ANN  
We're here for the investigation. Skynet has  
been trying to get its servers back as well.  
We have to find and report back to John.

CATHERINE  
Then more people will come here to help?

Lucy and Catherine start walking toward the street.

LUCY ANN (cont'd)  
Yes.

A van and a car pull in fron of them.

LUCY ANN  
What the hell is this?

A CASUAL MAN (20+) hops out of the passenger side and makes

a pee-line to them. A semi-automatic with a silencer is pressed to his head. They freeze.

CASUAL MAN  
(whispering)  
Come with us if you wanna live.

CATHERINE  
(fearfully)  
What do you want?

CASUAL MAN  
Just come. Van Meter want to talk to you.

Men from the van seize them and place them in the van.

Casual Man, the one who ambushed Catherine, gets in the car and drives away, leading the van out into the street.

INT. SERVER ROOM – CONTINUOUS

ON JOHN HENRY'S SCREEN and John Henry sees all this happen.

He shuts down screen and looks to Sarah, Murch, Auldridge, Ellison, Semina, Pichitchai, Stefan, Preecha and Savannah.

SAVANNAH  
(worrying)  
Will mom be okay, John Henry?

SARAH  
Those guys Grays?

JOHN HENRY  
Don't worry. They still don't know  
what Catherine Weaver and Emma are.

STEFAN  
I think this will be very fun.

JOHN HENRY  
We may get some more useful information.

Stefan sighs and looks to them.

STEFAN  
Anybody hasn't have breakfast yet? I'll cook.

ELLISON  
Oh! I have an appointment with Dr. Buhai.

Stefan eyes Preecha. Pichitchai quickly exits the room.

PREECHA  
Mr. Murch, Ms. Cruel and I have to go for Thor.

SARAH  
I and Auldridge have to go for investigation.

They leave. Now Savannah is about to run but Stefan gets into her way and smiles subtly at her.

STEFAN  
Savy, beloved sis, I think you need some food.

Savannah can't run anymore. Stefan stares at her with a happy look. Savannah's unlucky today, she becomes a victim of Stefan's cuisine this time. John Henry just smiles. He's lucky because he doesn't have to eat.

**END OF ACT 2**

* * *

**ACT 3**

**(Bargain for John Henry)**

INT. POW SUITE - DAY

Just inside the doorway, Catherine and Lucy Ann stand blindfolded and manacled, a thug on either side.

Casual Man removes their handcuffs and then shoves

They further into the room as he and the Thugs exit, locking the door behind them.

Catherine and Lucy Ann stumble but don't fall. They deliberately remove his blindfold and sees:

A very nice suite that is somewhere between a luxury hotel suite and an apartment. It's well appointed but not opulent. On a table outside the kitchen but near the entrance is a small breakfast buffet. This main room has a couch, chairs, tables, lamps, and an entertainment center.

LUCY ANN  
Where is Kitty?

CATHERINE  
She is safe. I sent my snake.

LUCY ANN  
What shall we do with these foods?

CATHERINE  
Eat some.

LUCY ANN  
But we don't have to...

CATHERINE  
We have to. For our lives.

Catherine's eyes lead Lucy to look at the surveillance camera.

LUCY ANN  
Okay. Let's eat some food.

They grab plates and serve themselves some breakfast.

INT. KITCHEN – RENTED HOUSE – DAY

John, Kyle and Maggie sit at the table. Cameron support Allison into the kitchen. E. Boykins pumps into kitchen after them.

JOHN  
Hi, Allison. How are you?

ALLISON  
Better. Thank you.

E. BOYKINS  
How is Victor?

MAGGIE MOON  
Your grandchild has got him.

They sit down. Cameron is beside John and Allison is beside E. Boykins. Nevlin enters the kitchen.

NEVLIN  
I need milk for kids, sir.

E. BOYKINS  
Allison can't feed. You need to give  
them cow milk today. I know it's not  
good enough for them but she can't.

NEVLIN  
I know, sir.

Nevlin walks to the refrigerator and gets a gallon of milk. Then he goes upstairs. Victor and Stefan Jr enter the kitchen. John and Cameron quickly stand.

STEFAN JR  
Please. He becomes friend.

That caught them off guard.

E. BOYKINS  
Hypnosis abilities are professional skills I  
ever trained from my father when I was young.

VICTOR  
Hello, sir.

STEFAN JR  
His memories were all deleted and couldn't be  
recovered again. Every recovery functional  
parts of his cerebrum were stopped and he  
won't understand what we are saying.

JOHN  
Does that mean you delete his free will?

STEFAN JR  
No, I just reboot his teenage experience.

E. BOYKINS  
It means he will be taught again as a teenage boy.  
He's completely grown but he doesn't have any...

JOHN  
Knowledge?

E. BOYKINS  
I never mean that. Oh! I can't really show you.  
It's been very long time I haven't trained to  
hypnotize people at this state. I can only make  
them feel comfortable and command them to do  
whatever I want. But this, we can call it as  
a human brain reprogramming.

CAMERON  
So how can he live his life as others?

STEFAN JR  
I'll teach him.

JOHN  
You teach him. Are you sure it will work?

STEFAN JR  
This man isn't our threat anymore.  
(to Victor)  
Go to your place now.

Victor exits emotionlessly. Everyone looks at him while he's walking down the stairs to the basement.

STEFAN JR  
I really need to do all this.

JOHN  
Okay. Then when will we go to Zeira Corp?

STEFAN JR  
Today when our third Stefan come to greet us.

EXT. PESCADERO STATE HOSPITAL - DAY

A SIGN on a chain link fence topped with concertina wire reads: PESCADERO STATE HOSPITAL FOR THE CRIMINALLY INSANE. Beyond it squats an imposing four-story building. Institutional brick. Barred windows. About as inviting as KGB headquarters. Security guards patrol the manicured grass.

INT. HOSPITAL - MAXIMUM SECURITY WING - DAY

Sunlight is a barred slash on the bare institutional wall. The room is empty of all furnishings save the bed, a stainless steel sink, toilet, and a dented metal mirror. WE HEAR a rhythmic grunting, small explosions of breath in perfectly-metered time.

PAN TO a bedframe leaned upright against the wall, legs facing outward. A pair of sweaty hands grip one leg. Tendons knot and release as SOMEONE does pull-ups. A man of tangled hair hides the face that comes INTO FRAME, dips out, comes back.

WIDER. A WOMAN in a tank top and hospital pants in hanging from the top leg of the vertical bedframe. Her body is straight and taut. Knees bent so the feet clear the ground. The arms are lean and muscular. The inmate, face hidden, pulls up, dips, pulls up. Like a machine. No change in rhythm.

INT. HOSPITAL/CORRIDOR - DAY

FIGURES MOVE TOWARD US down a corridor of polished tile and two-tone walls. DR. MARY BUHAI PH.D., a psychologist, leads an old man we already know, he's previous future E. Boykins, but he's not the same one who died in the future. He just will take Sarah to the future. So now he might not know anything about T-2000.

MARY BUHAI  
Like I ever explained to you. He's really  
hard to be cured but I want to help him.  
Hopefully, you may be able to help him.

PF E. BOYKINS  
In his mind, it's all about J-Day?

MARY BUHAI  
Yes. Oh! Please be careful. He ever tried  
to attack me when I don't let him go.

PF E. BOYKINS  
Okay. I'll help you, doctor.

Mary stops at one of the SOUNDPROOF STEEL DOORS. There is a two-way speaker beneath a tiny window. Mary flips the intercom switch. PF E. Boykins waits behind her.

INT. CELL - DAY

Mary's scrubbed and cheerful face at cell window. HER VOICE comes over the tinny speaker.

MARY BUHAI  
'Morning, Dr. Silberman.

REVERSE ANGLE as she turns slowly into CLOSE UP.

DR. PETER SILBERMAN (S01E07) sitting and reading a book on the edge of his bed, he is the one who tried to keep the Vick's hand. He stands, closes his book and puts it down on bed. The book he has read is The Art Of Assembly Language.

DR. SILBERMAN  
Good morning, pretty girl. How are you today?

MARY BUHAI  
May we talk, doctor? I have a friend with me today.

DR. SILBERMAN  
No. I have to read and understand all this.  
When it happens, I'll reprogram them and use  
them to fight those machines.

MARY BUHAI  
Oh! Doctor. Reprogramming is harder than that  
book can explain to you. It's just beginner's.  
My friend can teach you more than that.

Silberman thinks about it.

DR. SILBERMAN  
Okay, pretty girl. We can talk.

INT. CORRIDOR – DAY

She switches off, speaks to PF E. Boykins.

MARY BUHAI  
I think you can talk to him.

PF E. BOYKINS  
That's a good news. I can try those  
attendants too. Their minds can be  
controlled very easily.

TWO ATTENDANTS join them.

MARY BUHAI  
Good. I think we are ready.

INT. PESCADERO STATE HOSPITAL - INTERVIEW ROOM - DAY

TIGHT ON VIDEO SCREEN, playing a previously-recorded session. Silberman is in a strait-jacket, talking softly.

VIDEO SILBERMAN  
...it's... like a man, burning eyes...inside is metal  
not every day but somehow I can still see. Look, you  
know the dream's the same every night, why do I must.

VIDEO MARY BUHAI  
Please continue...

The REAL SILBERMAN dispassionately watches himself on the screen. His expression is controlled. Mary and PF E. Boykins watch his watching. They are in a brightly-lit interview room. THE SAME TWO ATTENDANTS stand nearby. PF E. Boykins does a fingers-to-temple gesture. His eyes stare hard at Silberman.

VIDEO SILBERMAN  
I saw him in the corridor. He looked handsome.

Real Siberman sighs.

VIDEO SILBERMAN (cont'd)  
Changling...I mean I saw him...reaching the bars.  
He didn't stop. His body divided like jello around  
the bars. As it squeezed itself through like metal  
playdough, its surface reformed perfectly, deformed  
and squeezed through like a viscous paste forced  
past an obstacle. Then the big one shouted: Go.

VIDEO MARY BUHAI  
Then the gunfire.

VIDEO SILBERMAN  
Everything got fast. I knew the J-Day could come.  
It could come and I could see them around us. They  
were everywhere. They could be everywhere. Maybe  
they were some body in here. Maybe you, maybe you  
are one of them. One of THEMM!

He is raving, half out of her chair. The orderly moves to inject him with something into his arm.

VIDEO SILBERMAN  
Maybe you all are one of them. One of them.  
Because I know they can be everyone they want.  
They can be everyone they want. Everyone.

Mary Buhai pauses the tape... freezing Silberman's contorted face. Real Silberman turns away from the screen.

SILBERMAN  
I was afraid... and confused. I feel much  
better, now. Clearer. I feel I am better.

Mary gives a calculated paternal smile. Silberman turns to PF E. Boykins who does the same. Silberman looks back at Mary.

MARY BUHAI  
Yes. Your attitude have been very positive lately.

DR. SILBERMAN  
I wanna see nature. I wanna see what I can do.

MARY BUHAI  
Earlier, you said you wanted to learn more  
about err... assembly programming language.

DR. SILBERMAN  
I did, didn't I?

MARY BUHAI  
You said it.

DR. SILBERMAN  
I can't remember anything.

PF E. BOYKINS  
Okay, again. Dr. Silberman, why do you  
have to stay in here? Answer please.

Silberman tries to think but he seems innocent, doesn't know anything. He looks confused.

DR. SILBERMAN  
I can't remember.

PF E. Boykins and Mary Buhai exchange a smile.

MARY BUHAI  
Okay. Then do you still believe in apocalypse?

Silberman smiles happily.

DR. SILBERMAN  
Is that a kidding? Apocalypse is only  
in just a bible. Credulous, doctor.

MARY BUHAI  
About a cyborg? Do you still believe that  
there are still cyborgs living around us?

That doesn't make sense to Silberman anymore.

DR. SILBERMAN  
Oh! High technology. There is no cyborg around  
us. I think you read too many science fictions.

MARY BUHAI  
And did you like those fictions?

DR. SILBERMAN  
I prefer to read about a romance.

MARY BUHAI  
Really, I also like it too. I mean sometimes.

DR. SILBERMAN  
I feel very happy today. I want to go home.  
I think my plants need me there.

Mary turns back to PF E. Boykins who lowers his hand and nods. She turns back to Silberman and writes on her paper.

MARY BUHAI  
I think you have to wait around here for few hours.

Mary stands up with her folder. PF E. Boykins turns off the video camera. Two attendants exit.

DR. SILBERMAN  
Okay. I can wait but...

Silberman looks down at his clothe.

DR. SILBERMAN  
I want a new suit. This isn't right to me.

MARY BUHAI  
I'll find you one, doctor. Good luck.

DR. SILBERMAN  
Good luck to you too.

They exit. Silberman is alone now.

INT. CORRIDOR – DAY

Dr. Mary Buhai and PF E. Boykins walk together in the corridor.

PF E. BOYKINS  
I hypnotized them to edit some data in database.  
He can be out today. But I think you should do  
a confirmation. This is all my best, Snow Bell.

MARY BUHAI  
Thank you so much.

PF E. BOYKINS  
You are welcome, doctor.

MARY BUHAI  
Would you mind if I wanna feast you lunch today?

They stop.

PF E. BOYKINS  
Oh! Really sorry for that. I already have  
an appointment with my friends. They want  
to see me today.

MARY BUHAI  
Are they your e-pals?

PF E. BOYKINS  
No. Mind pals.

PF E. Boykins smiles and leaves her.

MARY BUHAI  
(murmuring to herself)  
What is mind pal?

Mary realizes and looks at PF E. Boykins who is at the doorway.

MARY BUHAI  
(shouting)  
Hey! And again. I have a name. It's Mary.

PF E. BOYKINS  
(shouting back)  
I know that.

Then he leaves the hospital. Mary smiles happily. She hasn't noticed the people around that look at her with little annoyance.

Mary sighs and runs back into the way she came.

INT. POW SUITE - DAY

Catherine is reading the suite's Bible as the main door opens. Lucy is reading the suite's magazine.

An armed man enters first, followed by Richard Ellison(he can be eihter real or clone).

RICHARD  
Ms. Weaver, I hope you haven't  
been made uncomfortable.

Weaver stands up, buttons her jacket. Lucy does after her.

WEAVER  
You mean other than the kidnapping?

Richard points to the buffet.

RICHARD  
Do you mind? I haven't had a chance to eat.

Without waiting for an answer, Richard goes over to the buffet, takes up a croissant, opens it and spreads some preserves.

WEAVER  
I hope you don't mind my asking...

RICHARD  
Why have we brought you here?

WEAVER  
Yes.

RICHARD  
The people I represent, they can be less than subtle  
in their approach to information gathering. Mmmmm.  
Would you care for some?

WEAVER  
No, thank you.

RICHARD  
I and my friends need to talk to you about  
a computer GOFAI name John Henry. Sell him.

WEAVER  
What if I don't?

RICHARD  
I'll kill you then my men kill your daughter.  
Then we shall get your John Henry. I think  
you don't like this, do you?

WEAVER  
You always like a game, don't you?

RICHARD  
Yeah. I do.

EXT. ZEIRA FRONT GATE – SAME

Murch stands with his fuel cell motorbike in front of the building, waiting for Sarah and Ellison who are coming to him.

CLOSE ON ANOTHER MOTORBIKE AT THE OPPOSITE FOOTPATH

THE MAN who wears riding leathers over Gray track suit and sun glasses, stands beside his motorbike, spies Sarah and Ellison as they exit the Zeira and talk something with Murch. We haven't heard what they've talked. The man sees Murch hands a key to Sarah leaves them and his motorbike. Then Sarah and Ellison start their new motorbike and ride down along the street.

The man gets his phone.

THE MAN  
(on phone)  
Sir, we're ready. Fish, hen and cock got out.

INT. POW SUITE – SAME

Continue from last time we left them.

RICHARD  
We could know you got back.

WEAVER  
So are you sure you really wanna kill me?

RICHARD  
The hell I can't.

Richard finishes his food and stands.

RICHARD  
I can kill you in my bare hand.

WEAVER  
Maybe I think we should have better conversation.

Lucy steps forward.

LUCY ANN  
Ms. Weaver, I think it's wasteful to talk  
to this guy. We don't have much time.

RICHARD  
Anthony!

The armed man quickly aims and fires at Lucy Ann, killing her. Lucy Ann falls to the ground, playing dead.

WEAVER  
Lucy! No!

RICHARD  
Your friend. Then your turn.

WEAVER  
Okay. I will. And where's the girl?

RICHARD  
Which girl?

WEAVER  
A baby you took from us.

RICHARD  
We'll kill her after all.

Richard smirks.

WEAVER  
So be it.

RICHARD  
Sell him to us.

WEAVER  
That's stupid way. I won't sell him to anyone.

Richard looks at his strong hand.

RICHARD  
Are you sure?

WEAVER  
I'm sure.

RICHARD  
Then let's do it.

Richard grabs Weaver by the throat. Weaver wraps both hands around Richard's throat. They struggle, neither one willing to let go.

RICHARD  
Anthony, send out command.

ARMED MAN  
Yes, sir.  
(into radio)  
Do it.

ANGLE ON: LUCY'S BACK at the area she was shot, now there is no wound, just drops of blood.

CLOSE ON THE SURVEILLANCE CAMERA as it is folded by unknown unusual power.

Lucy stands up and reaches her hand, her electromagnetic power pulling the gun from the man into air then she uses it to hit on the back of his hand, causing him to lose consciousness.

Richard gets a bit of a surprise when her tight grip on Weaver's neck suddenly grasps at liquid metal.

RICHARD  
What the hell?

**END OF ACT 3**

* * *

**ACT 4**

**(The Three Warriors meet)**

INT. POW SUITE – CONTINUOUS

Richard gets a bit of a surprise when her tight grip on Weaver's neck suddenly grasps at liquid metal.

RICHARD  
What the hell?

Weaver morphs into silver and then into Catherine Weaver again-both hand still on Richard's throat. The index finger on Weaver's other hand silvers and lengthens into a spike that is trained on Richard's head.

WEAVER  
The game ends here.

Richard actually has the courtesy to look afraid. But then Richard's expression changes and he smiles. Richard throws Weaver away against the wall on his side.

RICHARD  
This is my surprise.

Richard turns, faces Lucy Ann.

LUCY ANN  
So what about this?

Lucy rises her hand. Richard can't even move. His arms stretch to both sides. His legs are tight.

LUCY ANN  
You can't talk. You can't move. You can't  
do anything now. You caused this yourself.

Lucy Ann smiles as she beckons, causing him to soar up in the air and hover closer her.

LUCY ANN  
You watched X-men film?

Richard's fear is up.

Weaver stands and walks to join Lucy Ann.

WEAVER  
Then you tell us where the girl is.

LUCY ANN  
I'll let you say.

Lucy Ann lowers her hand a bit. Richard breathes hard and fast.

WEAVER  
Tell us where the girl is.

RICHARD  
(panting)  
Next door with my men. If I die, she dies.

LUCY ANN  
Are you sure?

WEAVER  
We don't care what you can do. But I think  
your men might die already if they aren't  
a hybrid like you.

RICHARD  
Damn it!

Lucy Ann lets him fall to the floor.

WEAVER  
You should be dead here.

Weaver steps toward him. Lucy still aims her hand at him. He tries to fight them but he can't even move.

Weaver smiles and drops to her knees.

CLOSE ON HER FACE as we hear a sound of metal stabbing into meat. Weaver stands up with her left hand soaked with blood, holding something.

FULL SHOT revealing Richard was stabbed by Weaver.

WEAVER  
I got the chip.

Weaver opens her hand. She has held the chip; a reddish-brown ceramic rectangle with a connector on one end. About the size and shape of a domino. On close inspection it appears to be made up of small cubes connected together.

LUCY ANN  
Skynet real location is in our hand now.

WEAVER  
Let's go.

They both smile.

INT. ANOTHER ROOM – DAY

CLOSE ON DOOR. Weaver and Lucy Ann kick the door open and enter the room. This room has no camera. There has been a sound of Kitty crying. They cross the room to find her on a bed. There are three men dead and a piece of metal near the bed.

LUCY ANN  
Shhh! Shhh! Kitty. Shhhh!

Lucy holds her up.

ANGLE ON: tight on the liquid metal blob. Next to it is the Weaver's shoe. The mercury blob crawls and rejoins the main mass, disappearing into the "shoe".

Weaver looks to Lucy.

WEAVER  
We have to go.

INT. ZEIRA CORP – ELEVATORS – SAME TIME

Ten men in grey track suits with weapons enter the elevator. They do it very easily.

INT. ZEIRA BASEMENT – DAY

The 10 men enter the basement and walk toward John Henry's server room where the door is close. They kick the door open and enter.

INT. SERVER ROOM – CONTINUOUS

John Henry meet those men, alone in the room.

JOHN HENRY  
Hello!

MAN #1  
You John Henry?

JOHN HENRY  
Yes.

INT. ZEIRA BASEMENT – CONTINUOUS

THE DOOR closes as we hear GUNFIRES, DRILLING, ELECTRICITY SHOCK, CRIES and SCREAMS of fear and pain.

DISSOLVE TO:

INT. KITCHEN – RENTED HOUSE – DAY

Maggie Moon and Stefan Jr are washking dishes together. She wears her new pretty wool coat.

MAGGIE MOON  
I love doing all this, Stefan.

STEFAN JR  
What? You mean washing dishes?

MAGGIE MOON  
Yes. It's very fun activity.

STEFAN JR  
Hmm! This may be because you never did  
this before. So when you start doing it,  
you may feel excited with it.

MAGGIE MOON  
You are right.

Stefan Jr leaves her and she is laden with last three dishes. Maggie smirks and continues her washing dishes. She can finish them in 30 seconds.

Stefan Jr enters the kitchen again when Maggie put all clean dishes into disk rack. Stefan Jr places a quick kiss on her left cheek. She blushes.

MAGGIE MOON  
(blashfully)  
What are you gonna do, Stefan?

STEFAN JR  
I just wanna do the right thing now.

Maggie turns and smiles at him.

STEFAN JR  
What can I do?

MAGGIE MOON  
What are you trying to say?

STEFAN JR  
Just come here.

Stefan Jr grabs her hand and takes her to the center of kitchen. He flashes a smile at her.

STEFAN JR  
It's a big surprise. I got it yesterday.

Stefan Jr reaches into his jacket, shows a small red box. Maggie looks really surprised.

MAGGIE MOON  
Oh! Stefan, what is this?

He doesn't say anything. He slowly drops one knee in front of her and opens the box, showing two rings for male and female, his hand reaching the ring box up to her, as he offers marriage:

STEFAN JR  
Will you marry me, Maggie Moon?

Maggie looks down at Stefan Jr's eyes and gently puts her right arm on his left cheek.

MAGGIE MOON  
I love you, Stefan. I'll marry you.

Stefan Jr stands up, puts the box on the bed and his left hand takes the smaller ring from the box. With his right hand, he takes Maggie's left hand and gently puts the ring just above her finger. He's ready to put it at her finger. He looks up and sees in her eyes.

STEFAN JR  
Maggie, do you take me, Stefan to be your husband?

Maggie starts blush. She smiles from ear to ear then NODs.

MAGGIE MOON  
I do.

Stefan Jr gently puts the ring at her finger and hands another ring to Maggie who takes it. She then takes Stefan Jr's left hand with her right hand, puts the ring just above the finger and looks in his eyes. She giggles for a moment before.

MAGGIE MOON  
Stefan, do you take me, Maggie to be your wife?

He flashes a smile as he flushes.

STEFAN JR  
I do.

And Maggie Moon gently puts the ring at the finger, they both looks each other in the eyes as they both still flush.

STEFAN JR  
Now we are spouse. I can kiss my wife.

Stefan Jr takes her hand in cross finger, kisses on it, then looks up to face her, gets closer and kisses her at the mouth. She gives him control of the kiss as their lips slide and suck at each other, the tip of her tongue fencing with his until she grants it to her mouth where they wrestle in a sensuous massage. His arms wrap tightly around her back. One of her hands still wraps around his head, touching his short hair, as another hand slides through his back to the hem of his trousers, sliding from the back to the front, and putting into his trousers trying to excite his eroticism. His hands slowly put off his jacket. There's a cough interrupt them. They quickly break the kiss and turn to find John and Cameron.

JOHN  
I think you both shold do this in a room.

STEFAN JR  
Okay. Mr. Connor, Mrs. Connor, thank you. We'll  
do this in our room. Where are you going?

JOHN  
We just need more fresh air. We'll sit outdoor.

CAMERON  
Good luck to both of you.

STEFAN JR  
Thank you, sir.

Then they leave and John...

JOHN  
(shouting)  
Have fun, Stefan!

STEFAN JR  
(shouting)  
I will, sir.

Stefan Jr and Maggie giggle and look back at each other.

MAGGIE MOON  
What are we going to do now?

STEFAN JR  
What do you think?

MAGGIE MOON  
Can you do me favor, Stefan?

STEFAN JR  
I think I can.

EXT. RENTED HOUSE – SAME TIME

John and Cameron get out of the house and see PF E. Boykins who comes from the opposite side of road.

JOHN  
Oh! I think it's nearly the time the  
three warriors will join up, Cam.

CAMERON  
The Three Warriors?

JOHN  
I mean the three psychics. Stefan, Stefan and Stefan.  
Younger self of our friend, our friend and previous  
future self of our friend. You understand?

PF E. Boykins joins them.

PF E. BOYKINS  
Good evening, young couple.

JOHN  
We've been waiting for you, Stefan.

PF E. BOYKINS  
You know me?

JOHN  
Yes. We met you in the future we came from.  
You took my mom across time to see me and  
you battled against machines in cool war II.

PF E. Boykins doesn't feel this weird or even complicated. He gives them a friendly smile.

PF E. BOYKINS  
I have heard about that.

JOHN  
Through Stefan Junior's mind?

PF E. BOYKINS  
Yes. Through his mind.

CAMERON  
I think Skynet will lose us definitely because  
we already have had the warrior threes.

PF E. BOYKINS  
I never thought that Cameron would be very human  
like this. You are very careless now. It's not good.

PF E. Boykins smiles again.

PF E. BOYKINS  
I'm just kidding.

CAMERON  
Last time I met you, you didn't look happy  
like this. What happened to you, Stefan?

PF E. Boykins shrugs.

PF E. BOYKINS  
Stefan Junior told me everything all night. I just  
have felt good when I knew that everything I have  
been fighting for hasn't been wasteful.

CAMERON  
Now I think you don't wanna disturb him.

JOHN  
He and his new wife...now...are...

PF E. BOYKINS  
Don't worry. I know that. I'm just here  
to take you trio to see Sarah Connor.

PF E. Boykins' gaze roams to the right side of the house where Kyle Reese has stood. He comes to join John and Cameron.

PF E. BOYKINS  
And take the Pichitchais to see the Pichitchais.

PF E. Boykins' gaze roams to the left side of the house where Allison(with Orwell), E. Boykins(on wheelchair with Sittipong) and Nevlin have been. They join up.

E. BOYKINS  
You know what we faced?

PF E. BOYKINS  
I'm very proud to hear that. The junior told me.  
He needs us to separate around the world to  
destroy cores around the world.

E. BOYKINS  
All cores haven't been installed yet.

PF E. BOYKINS  
Our mission now is to stop the constructions.

E. BOYKINS  
Let's go.

Then everyone gets into the truck. Allison throws E. Boykins' wheelchair on the back of truck before they get onto the back of truck together.

WE TILT UP as the truck is started and move through window INTO THE ROOM OF STEFAN JR AND MAGGIE MOON where the couple just enter and close the door behind them. And sounds of the truck driving.

Stefan Jr brands Maggie with kisses as they collide with the edge of the bed.

Slowly as they sink onto the bed, he leans down to kiss her and she can see his eyes clearer.

Maggie steadfastly removes his shirt.

Stefan Jr closes his fingers into her hair and she slips her arms around his neck, allowing the heat from his body to warm hers. He wraps his arm around her waist, lifts her up hard against him. The heft of his erection pressing insistently into her belly as he deepens the kiss. Their tongues dance and explore with enthusiasm.

STEFAN JR  
(whispering)  
You like this?

Maggie's breath quickens. She slowly runs her fingers through his short steel and black hair as his firm hands run down from the small of her back.

He smoothly pulls her closer and her thighs spread apart even more, as much as the toughness of her skirt would allow.

Keeping her face and eyes diverted downward, Stefan Jr watches as his right hand creep up her left thigh and push under her skirt, moving the satin-backed material up her thighs. The cold air nips at her bare skin and she gasps. Maggie's hand strokes its way back down her thigh and plays with the top of her nylon stocking.

Maggie tilts her face up a little and is surprised to find him staring directly at her, face emotionless, but eyes alive with desire. She nervously sucks in a breath and looks down again, watching his hand as it goes to the outside of her silk covered thigh, playing with the clasp of her garterbelt.

His hand smoothly glides to the inside of her thigh, examining softer, warmer skin. His hand isn't cold, and yet she tenses and gasps, timidly mewling. Through slitted eyes, she watches his hand disappear under the gathered skirt at the very tops of her thighs.

His fingertips strokes the satin covered triangle between her legs and Maggie whines. Stefan Jr's left hand finds the small of her back, and he lazily strokes her there, through the layers of her clothing including her wool coat. Blindedly, he reaches to the side and pulls the edges of her coat around her body, to the outsides of her thighs, creating an effective pocket of warmth. Seconds later, his index finger snakes underneath her panties. In another breath, the tip of his middle finger rakes against her opening which is now unbeliveably damp.

Maggie shifts forward and rests her forehead against his neck, nestling it there as her eyes close. She groans lowly, shivers sliding through her.

Stefan Jr's fingers shift again, parting her folds, and pausing only a moment, his middle finger slipped inside her.

Maggie moans against his neck. Tingles swim through her and a pressure begins to build inside her, coaxing her to shift her hips toward his.

STEFAN JR  
(groaning)  
Maggie, I love you. I'm doing this for you.

MAGGIE MOON  
(groaning)  
I know. Please continue it.

He withdraws his finger. He slides his hand further up her hip and curls his fingertips into the waist of her panties. He cautiously pulls them down as much as the fabric would allow until Maggie bends her left leg.

The feeling of the cool air in between her legs feel much like his hand, teasing and foreign. Biting her lip, Maggie takes hold of his still damp hand. Finding the base of his middle finger, she eagerly presses his hand between her legs again, causing his middle finger to once again burrow into her softness. She wails and continues to push, until his palm is flat against her dark triangle of curls.

Now, both of them breathing heavily, he shrugs his shoulder a bit, requesting her to show her face. She looks up, her eyes are glazed and her lips are parted. He can easily see her breath as it escapes her lips, billows and winds itself into her hair. He reaches up and tangles his fingers of his left hand into her hair. Instinctively, Maggie reaches down to his waist, feeling for his belt. She quickly finds it, and gazing up into his eyes momentarily, she starts to use both hands to unfasten his belt.

Stefan Jr, pressing his forehead to hers, can see the struggle in her expression and he laughs softly.

STEFAN JR  
Here, darling...

He reaches down with his unoccupied hand and smoothly unfastens the belt. Nervousness is still nipping at her conscience and he begins to unfasten his pants. She pulls away from him slightly. His finger strokes inside her. His mind pushes his pants down.

STEFAN JR  
It's time, sweetie.

Maggie swallows and wraps her arms around his neck. She shifts in his lap and leans into his lips, kissing him simply, on the mouth. As his long fingers trail from her temples to her shoulders, to the small of her back the warmth takes her over again. When she pulls away from the kiss, it catches him by surprise. He moves his lips toward hers and she pulls back. He cocks his head questioningly at her, and she blinks.

STEFAN JR  
Are you scared?

MAGGIE MOON  
No.

He looks at her to see what she is up to, and takes hold of her waist as she bends her legs. He watches her and when she tips her face back up to look at him, he is surprised to feel her legs wrapped around his waist. Her dress is gathered up between their bodies and all that prevents them from becoming one is one layer of flimsy fabric.

She sighs warily and gently spreads her hands out on the front of his chest. She looks up at the ceiling, and then him, eyes dark and dilated.

She reaches down and helps him pull the material slightly down his thighs until his manhood is exposed, beneath the makeshift blanket of her skirt.

They fall on bed again.

Stefan Jr cleverly removes her clothes, leaving her completely naked and panting, wanting more and more.

He sits up and pulls her up against him, his manhood gliding into her. She screams and throws her head back, gazing blurrily at the stars on ceiling above them. Stefan Jr presses his lips to her neck, kissing her throat.

Her hips are rising and falling, guided by him as he moves inside her. Sweat covers their faces and when he pulls away from her neck, she shifts forward to return the favor, kissing his chin, kissing is eyes, anywhere skin offers itself to her.

He is pulling her hips against him harder, faster until she begins to see the stars under her eyelids. She starts to cry again, the ache is deteriorating and swimming up her back.

He starts fucking her harder and as hard as he can. Then he pulls her down to the bed, penetrating her harder and faster.

His face moves up to hers, his tongue caressing her lips and the inside of her mouth. She closes her eyes, tightly grabbing and scratching at his back.

They both start screaming out painfully as he penetrates her involuntarily. He rolls a blanket cover them. The blanket entwines them. They have sex in the same style for a minute. Stefan Jr penetrates her one last time as they both scream out so loud, displaying their painful climax of their sexual intercourse.

TILT UP AND DISSOLVE TO:

INT. ELEVATOR – NIGHT

MATCH TILT DOWN as the door automatically opens.

SARAH (O.S.) (cont'd)  
Tonight Savannah falls asleep very easily.

Sarah and Ellison enter the elevator. They are in 14th story.

SARAH (cont'd)  
What does he want?

ELLISON  
I don't know. They just called me...

Ellison presses on 'G'. And the door automatically closes.

ELLISON (cont'd)  
...and told me that I should take you down there.

SARAH  
John Henry has had a lot of surprises.  
However, we shouldn't trust them as well.

ELLISON  
Why Sarah? You know John Henry is trying hard  
to be such a human. He tries to help humans.

SARAH  
But he's still a machine. Same side with our enemy.

ELLISON  
Oh! No, Sarah. He...

SARAH  
He doesn't have a soul. They don't have minds.  
He can't be trusted. They can't be trusted.  
Remember, who attacked you in North Hollywood,  
who tried to kill you in your house and who  
tried to kill Savannah at her home.

ELLISON  
One of them. I know.

SARAH  
Please don't trust them much. They are machines.

ELLISON  
But you have to understand. John Henry is a goood one.

SARAH  
Okay. A good one. I will see what will happen  
when we trust them too much, when it's too late.

ELLISON  
I still confirm John Henry anyway. He's like  
my son, the son I never had and would never.

They reach the basement, the door opens for them. They exit the elevator and continue their conversation.

SARAH  
So be it. I don't have any more idea to warn you.

ELLISON  
I think you have to open-mind for those repenters.  
Being open-minded doesn't mean being gullible. John  
8:32 You shall know the truth, and the truth shall  
make you free.

SARAH  
For me, free from what?

ELLISON  
Your distrustfulness and your unreasonable solicitude.  
You should give a chance to machines who wanna serve  
and live with humanity in peace.

SARAH  
Okay. I'll try to open it.

ELLISON  
So I should say 'Thank you'.

Then they stop and exchange a friendly smile.

SARAH  
It's me who should say it. Thank you.

ELLISON  
Maybe after it's all finished, you may  
have to enter a church sometimes.

SARAH  
I think God may be very very angry of me.

ELLISON  
God always excuse and take care of us. Congratulations!  
Sarah. You just left your preconception about God.

SARAH  
Should it congratulate much like that?

They smile to each other again before they turn and walk toward John Henry's server room.

INT. JOHN HENRY'S SERVER ROOM – CONTINUOUS

Very surprising, Sarah and Ellison meet Allison, Cameron, John, E. Boykins, Stefan, Pichitchai, PF E. Boykins and Kyle Reese waiting in the room with John Henry and Matt Murch.

Sarah's eyes widen at the sight of John and then Kyle.

SARAH  
John. Kyle.

Kyle looks at Sarah with a smile of infatuation and love.

KYLE  
Sarah.

It seems like their hearts soar as their smiles never fade. Kyle and John and Cameron look at Sarah with love. Sarah's gaze roams to Cameron with a hint of wary curiosity, intrigues but cautious.

SARAH  
Cameron.

Their each gladness is up as no one can't say anything at this moment. Kyle is about to move to hug Sarah but John gets there first. Cameron follows. Kyle can't do anything when picture of Sarah's death dance in his mind. It's not this Sarah.

JOHN  
Mom, I miss you.

SARAH  
I miss you too, John. How are you? What happened  
to you? Why did you get back? Why are you here?

CAMERON  
We come back to see you, Sarah, and we also  
need to change the history and stop the birth  
of the most dangerous terminator.

Sarah and John part. Sarah looks down to Cameron's belly, seeing that she's pregnant.

SARAH  
Oh! What the hell happened to you, Tin Miss?

Sarah eyes into Cameron's eyes as Cameron smiles proudly and blashfully. John walks toward Cameron and grabs her hand in his, looking into his mother's eyes.

JOHN  
We got married, mom.

SARAH  
No, John. I can assume that. But how can  
this be possible? I don't understand.

CAMERON  
I'm a human now.

JOHN  
It's a long story.

Allison wheels E. Boykins to join them.

ALLISON  
Ms. Connor, we can explain this.

Sarah looks very surprised.

SARAH  
Okay. I always listen but...

Sarah smiles.

SARAH  
(to everybody)  
Anybody hasn't have dinner yet? I'll cook.

Everyone suddenly responds with smile. Sarah puts both hands on John's and Cameron's shoulders.

SARAH  
(happily)  
We may have many things to talk about. You both  
should have eaten anything before. I can wait.

CAMERON  
I'm very proud of this, Sarah.

SARAH  
At this point, I think you should call me mom.  
(to everyone)  
Let's go. I have trained to cook. Better.

Sarah leads everybody out. Ellison is still here, looks over shoulder to see John Henry sitting alone. He walks over to him.

ELLISON  
What matters, son?

John Henry quickly looks up.

ELLISON  
Let's go. We really have many things to talk about.

JOHN HENRY  
Okay. Let's go, father.

John Henry smiles proudly.

DISSOLVE TO:

INT. SKYNET MODIFY LAB – NIGHT

GINYU BROOKS opens his eyes. They both glow red beneath eyeballs.

GINYU'S H.U.D.: Ginyu's vision covers an expanded EMI from infrared to ultraviolet simultaneously, giving a slightly psychedelic look. The HUD information is more complete than before giving her some augmented reality(AR). "CALIBRATING..." And followed quickly by "CALIBRATED"

Ginyu raises up his arms. They both have a skin-like covering that looks almost human.

GINYU'S H.U.D.: His AR and HUD show the endoskeleton schematic of the arms overlaid on the actual image and display: "ENDOSKELTON" followed by "SYNTHETIC/ORGANIC SHELL".

He touches his arms and then uses them to help sit up. He winces and grabs his right shoulder. His legs now have the same synthetic-organic shell that doesn't quite look like skin.

Ginyu smiles broadly and his eyes maybe glow a little brighter.

INT. SKYNET NEW LAB – NIGHT

Ginyu Brooks enters the lab and sees JACK VAN METER standing and talking something to Skynet we can't hear at all:

SKYNET  
Okay. You know it that way.

JACK VAN METER turns to face Ginyu. We see him clearer through...

GINYU'S H.U.D.: Jack Van Meter has changed; he has his new covering for both of his arms; this is different. He's light(like Michael Jackson). He's muscular big man. This isn't Jack Ven Meter we know. His muscles are all even bigger than Arnold. His eyes glow red. He looks more like a demon from hell.

Ginyu gives Jack a small smile.

GINYU  
You look stronger.

VAN METER  
You confused why we've worked faster?

GINYU  
Yes. I do.

VAN METER  
I overclocked Skynet, causing him to work faster than  
his limit. But before that, I and Skynet found what  
the hell helped Weaver out.

GINYU  
What is it?

Jack leads Ginyu walking to join Skynet who turns on the main screen monitoring the low angle of everything that happened in the room where four men kept Kitty inside. A big snake from Kitty's clothing killed them all easily by jumping, killing and jumping and killing before it finished them and dropped to floor like common metal. When Weaver and Lucy Ann entered, we could see that metal joining Weaver's mass. Skynet stops the picture at when it was joining the main mass.

VAN METER  
We have to change the plan.

SKYNET  
This is the reason why I had to quicken  
everything I have researched all this year.

VAN METER  
Mr. Brooks, we just lost Mr. Victor.  
We are the last strong hybrids now.

Ginyu looks a bit confused.

GINYU  
What about Ellison?

VAN METER  
He's just a guinea pig in our project.  
He'll serve us. He'll help us kill all  
his brother's friends.

SKYNET  
And all our robots will be transported  
to our four main bases around the world.

VAN METER  
Vancouver, Lake Baikal, Atlanta and Mecca.

GINYU  
Seems amusing.

SKYNET  
And everything will be ready in four weeks.  
I'll upgrade myself. The war has just begun.

C.U. SKYNET'S EYES as they glow brightly red...

FADE OUT.

**END OF ACT 4**

**THE END**


	10. EP10: Sky After Rain

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**Terminator:  
The Across Time Chronicles**

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**F05E10**

"**Sky after Rain"**

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**Written by  
Stefan1994**

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This document is fan-produced fiction based on the television series, Terminator - The Sarah Connor Chronicles, and a fan-made season of fan fiction, F03 and F04 Terminator - The Resistance Fighters Chronicles, written by Stefan1994, eyeshieldTe and Mario28. This is done in spirit of fan fiction, to have fun and enrich the total fan experience beyond the limitation of the original story vehicle. In that spirit, and holding to the long tradition of free promotion. This story is being made available to the show fans for entertainment purposes.

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* * *

**TEASER**

WE OPEN ON:

EXT. HIGHWAY - NIGHT

Pavement rushing at us, lit by headlights. Beyond, darkness.

SUPERIMPOSE: "JANUARY 1, 2012"

JOHN CONNOR (V.O.)  
There are many Thais say "Sky after Rain"  
almost every time after they faced very hard  
trouble. They mean that when it rains, the  
sky becomes darkness and sun light sometimes  
is outshined by stratocumulus.

FLASHBACK TO:

CONTINUE FROM T2 SCENE: CLOSEUP TERMINATOR, as the chain drive brings it into view. Half human flesh, half chrome steel. His red eye gazes right at us as he - FIRES.

JOHN CONNOR (V.O.)  
After it rains, the sky always shows very...

The T-1000 takes the round in the belly. The grenade EXPLODES inside its body. A huge hole is blown clean through it, and it is ripped open and peeled back, half inside-out. It topples into the molten steel and –

JOHN CONNOR (V.O.) (cont'd)  
...beautiful atmosphere and bright sun light.

The T-1000 screams and slips beneath the surface of the molten steel. We see liquid silver running in dissipating whorls over the superheated surface... until it vanishes, swirling into nothing.

JOHN CONNOR (V.O.) (cont'd)  
...somewhat like a new light of a new day.

JOHN runs to Sarah. She stands staring into the pit. The empty shotgun slips from her fingers. Clatters to the floor.

JOHN CONNOR (V.O.) (cont'd)  
After every hard trouble gets pass us, we always  
meet beautiful clear things as worthy prizes.

John and Sarah help Terminator.

JOHN CONNOR (V.O.) (cont'd)  
But what about my life?

TIME CUT:

They watch him sink into the lava. He disappears... the metal hand sinking last... at the last second it forms into a fist with the thumb extended... a final thumbs up. Then it is gone.

DISSOLVE TO:

FROM S01E01: IN THE CLASSROOM. John sits in the back.

JOHN CONNOR (V.O.) (cont'd)  
I still want a worthy prize.

CAMERON (O.S.)  
What's your name?

John looks to his left and sees Cameron staring at him.

JOHN  
John.

CAMERON  
(with a smile)  
Cameron.

BACK TO PRESENT

TILT UP, reveal a rectangle of light ahead. The building in another place of Atlanta... Skynet Kaliba Group Base...

JOHN CONNOR (V.O.) (cont'd)  
But until that day will come, I have  
to get pass my rain of hell already.

EXT. KALIBA GROUP BASE – NIGHT

This is a bit like Cyberdyne system building but only black painted window. It stands at seven massive, maze-like stories. It is a huge complex, and it's domain spans many acres. Its location is somewhere in Atlanta and it will be replaced by Skynet core installation in the future. No outside world can see the inside. There are still so many guards wearing grey track suits with guns around here. The sign on the building reads:

JOINT RESEARCH FOR FUTURE; WESTERN DIVISION; MILITARY DEFENCE AI SYSTEM DEVELOPMENT; PROJECT K.I.M., ADVOCATE: USAF.

There are many big cargo trucks moving in.

C.U. ONE OF THEM as a Kaliba agent opens the cargo door, revealing a lot of T-500s inside it. Their sensors glow bright red ominously.

ZOOM INTO the bright red sensors and match cut to:

INT. SERVER ROOM – NIGHT

ZOOM OUT and we see a lot of red dots and green dots around the big world map on screen.

JOHN HENRY (O.S.)  
Red dots mean...

JOHN HENRY, E. BOYKINS, CATHERINE WEAVER, SARAH CONNOR, PREECHA SINGHMAK, GENERAL ANONGSAK PICHITCHAI, STEFAN, MIA LINDOW, NEVLIN GLAU, JAMES ELLISON, KYLE REESE and ALLISON PICHITCHAI walk closer to look the map. All humans wear thick snowsuits.

JOHN HENRY (cont'd)  
...enemies. Green dots mean destroyed  
facilities. Russian core was destroyed  
yesterday by psychic family. The southern  
zone factories were already burnt. There  
are now five red spots we have to destroy.

CATHERINE  
I and Lucy will get more information about  
the one in Atlanta. The rest are up to you.

SARAH  
We'll follow you to Atlanta after one last  
factory and core in LA is finished. We all will.

PICHITCHAI  
The psychic family will attack the cores in  
both Mecca, Saudi Arabia and Cairo, Egyp.

PREECHA  
And all this will be done after we celebrate  
our new year day tonight. Now January 1, 2012.  
I think we should celebrate a bit for our minds.

They think about that.

E. BOYKINS  
That's really a good thing to do.

SARAH  
What about Lucy and Savannah?

LUCY ANN (O.S.)  
We're here.

They turn to find LUCY ANN and SAVANNAH WEAVER standing in the doorway. Behind them are MATT MURCH, DR. MARY BUHAI PH.D., DR. FELICIA BURNETT, ALBERT AULDRIDGE and SEMINA CRUEL with some GROCERY BAGS.

LUCY ANN  
We don't miss this new year celebration, do we?

SARAH  
Oh! It's good you all come.

CATHERINE  
Savy.

Savannah quickly runs to her robot mom who holds her up.

SAVANNAH  
What do you wanna give me for new year?

CATHERINE  
What did I give you six days ago?

SAVANNAH  
An I-Phone 4s. Don't tell me you are  
gonna give me an I-Pad. I'd not like.

CATHERINE  
No, darling. Today is a doll.

Savannah looks very happy when she hears that.

Dr. Mary Buhai enters and looks confused to see Allison. She thinks Allison is Cameron. She walks toward Allison and reaches her hand.

MARY BUHAI  
Hello again. Cameron Phillips.

ALLISON  
Cameron! No. I'm Allison.

Mary blushes at that answer.

MARY BUHAI  
Allison? Oh! Sorry, girl. You and she look same.

E. BOYKINS  
Allison, this is Mary Buhai.

ALLISON  
Nice to meet you.

Allison takes Mary's hand and shakes it. Mary still looks confused with that but when she looks at E. Boykins and looks back at Stefan, and to E. Boykins again and to Allison.

MARY BUHAI  
Nice to meet you too.  
(to E. Boykins)  
So you are from the future?

E. BOYKINS  
Yes, I am.

CATHERINE  
And wait. Where are another Stefan,  
John and Cameron? They don't join?

SARAH  
Oh! I think they can't really come. Hmm!  
(smiling)  
Because Cameron is giving birth to the twin.

Everyone looks very surprised with this.

CATHERINE  
That can be both good and bad news.  
Bad that they don't come but good  
that they are gonna have two kids.  
So we should clap for them.  
(smiling)  
Let's clap our hands for the Connors.

Everyone claps their hands.

INT. SERVER ROOM – LATER

TIGHT ON CATHERINE'S HANDS as she uncovers the wine. The whole room is changed to be a party. Everyone else claps hands for the openning of this celebration. On table, there are many plates of foods such as soups, fried chickens, hamburgers, sandwiches, pizzas, and a lot more.

Catherine pours into the first glass, sends to other and grabs her glass, rising it.

CATHERINE  
This is for our new year of confidence, for  
everyone we lost all along earlier years,  
for our Utopian future and victory. Cheers.

Catherine just sips it. Everyone else after they poured into their glasses, does the same with her.

EVERYONE  
Cheers!

They drink wine.

**SERIES OF TIME CUT SCENES:**

1. E. Boykins feeds Allison a small piece of chicken as beside them, SITTIPONG and Stefan try to feed Orwell. They all smile.

2. Pichitchai and Catherine chuckle during their conversation.

3. Two doctors exchange their knowledge as Murch and Semina near them exchange a kiss.

4. Nevlin and Mia talking with John Henry and Lucy Ann as close friends. They express some happiness through looks.

5. Savannah and Preecha playing with Michael.

6. Ellison and Sarah clinking glasses. Auldridge eating chicken so filthily. Non of this can explain that Auldridge is a good trained FBI agent.

7. Kyle stares at Sarah when everyone else enjoys the party.

8. Full shot of party continues in this happy new year night.

**END SERIES OF SCENES**

DISSOLVE TO:

INT. OUTSIDE OF DELIVERY ROOM – NIGHT

JOHN CONNOR walks around in front of the room, worrying. PF E. BOYKINS sits on a chair, eyes closed, mediating.

PF E. BOYKINS  
Relax, John Connor.

JOHN  
I can't.

PF E. BOYKINS  
It's not good to be hot-tempered.  
She'll be safe. I have told you.

JOHN  
It's too long.

PF E. BOYKINS  
Just two daughters. You should relax. This makes  
your heart beat faster, your high blood pressure  
and it's not good if someone comes here and tries  
to murder you. So please relax.

John stops and looks at PF E. Boykins who breathes very normal, inhales and exhales are very matched and rhythmic. John steps closer him and tries to do the same. Definitely, he can't.

PF E. BOYKINS  
Relax and leave every nerves. When your mind  
relaxes, your body will work slower to normal.  
Everything inside you will be controllable.

John slackens breathing, closes his own eyes.

PF E. BOYKINS  
Find what you wanna get attention at. Just one  
thing in your mind. Imagine that it's under your  
control. If you get attention at only one thing,  
your concentration and your mind will be strong.

John controls his breathing. He tries to do what PF E. Boykins just said.

PF E. BOYKINS  
Imagine that it's only one you wanna lift,  
fire, throw, destroy and free. Just one.

John looks like a statue now, he's not different to PF E. Boykins. His mind is a bit relaxed. His body, his heart beats slower and slower as his breathing becomes stable. John's inhales and exhales become very balanced.

PF E. BOYKINS  
Relax. Make your pure and enlighten your mind.  
Be ready to receive knowledge. Be conscious.

John stands still. PF E. Boykins opens his eyes and stands, staring at John.

PF E. BOYKINS  
Don't care every sound. Don't care anything. Imagine  
the rain that slowens and stops. Try to think that  
how many drops of it when it rains. Now it rains.

John seems peaceful. His breathing is very slow. His heart beat is very stable. Everything is under his control.

PF E. BOYKINS  
Then like when you save a file, open your eyes  
and save your equilibrium and mind power stage.

John opens his eyes, looks so calm. This is very new, not the John Connor we knew, not the John Connor we saw.

PF E. BOYKINS  
How was it like?

JOHN  
Better.

PF E. BOYKINS  
Okay. Well. Now keep everything stable. Calm your body,  
command it to work and don't let it command your own  
mind. Then your mind and your body will be unique.

JOHN  
I think it's better if you become another Buddha.

PF E. BOYKINS  
I still don't understand it much.  
Sometimes I really wanna be.

PF E. Boykins laughs, teasing John but he doesn't follow that. He still keeps his heart beat so stable.

PF E. BOYKINS  
Well, you are done. Then we'll train telekinesis  
later. Your brain is perfect at first. You'll be  
trained for those abilities easier than others.

JOHN  
What do you mean?

PF E. BOYKINS  
Your intelligence, parts of it are from your brain.  
When you mediate, I can sense the power beneath it.

JOHN  
So I can be like Stefan?

PF E. BOYKINS  
Next life, John Connor. Don't say that Christ  
has never taught you to believe in next life  
or previous life because it's the truth of life.

JOHN  
How can it be possible?

PF E. BOYKINS  
Your soul, it's like a software. Without body,  
it doesn't mean that it dies, it just tries to  
find another new matched body. I can't figure  
it and I don't know how this works at all.

JOHN  
Thank you for explaining.

PF E. BOYKINS  
You are welcome. She's done.

JOHN  
What?

The door opens, causing John and PF E. Boykins to turn to find DR. MANNY D'COSTA (S02E14) exiting the delivery room.

JOHN  
Doctor, how is my wife?

DR. D'COSTA  
She's okay. Everything got pass very  
easily. Both mom and babies are safe.

John looks relieved.

PF E. BOYKINS  
Thank you for that, Dr. D'Costa.

DR. D'COSTA  
You are welcome, Mr. Boykins.

Dr. D'Costa leaves. PF E. Boykins does a fingers-to-temple gesture and stares hard at Dr. D'Costa. John walks and looks into the window.

JOHN'S POV.: CAMERON CONNOR is holding two kids on each of her arms, smiling proudly. Two NURSES are with her, looking right at the two new lives of world with lovingly.

John smiles very happily.

* * *

**ACT 1**

**(Civil War)**

INT. ZEIRACORP OFFICE – DAWN

E. Boykins and Pichitchai sit on a sofa. John Henry, Murch and Semina enter the office. They stand.

JOHN HENRY  
We finish the IDs and passports.

Semina hands them passports.

SEMINA  
I manage all these for all of you.

MURCH  
We have a big day.

E. BOYKINS  
Yeah. And John Henry, what's another  
surprised you ever told me last night?

JOHN HENRY  
It's not that valuable surprise. It's just  
we can temporarily bring back your legs.

E. BOYKINS  
Temporarily?

JOHN HENRY  
Yes. Because daily use won't be good to  
your body. We'll upgrade it later for  
daily use and full functional controls.

E. BOYKINS  
Present it me.

The door opens. Lucy Ann enters with something looks a bit like an eLegs exoskeleton but there is no arm gesture reader AI installed in suit and this looks easier portable thing than the eLegs exoskeleton by Berkeley Bionics. It's more like ropes than exoskeleton. Every part looks thin and flexible.

JOHN HENRY  
Better than eLegs exoskeleton. This  
thing can be use beneath your pants.

E. BOYKINS  
Allison may like it.

JOHN HENRY  
You can control your legs easier and  
don't have to use your mind anymore.

E. BOYKINS  
How?

LUCY ANN  
This exoskeleton has function to read electric signals  
from your neural cells and control the lower legs. Your  
deformation is from the destruction of some neural cells  
between your upper thighs and whole legs. So your brain  
can still send neural commands but those can't reach your  
legs because their ways are already destroyed.

E. BOYKINS  
So with this way, I can walk with this exoskeleton.

JOHN HENRY  
Yes. And I'm gonna upgrade this thing to be more  
like neural signals interventionist transceiver.

E. BOYKINS  
Then I'll be able to control and feel my legs again.

JOHN HENRY  
(re: the exoskeleton)  
Yes. Do you want this thing?

E. BOYKINS  
Let's test it.

E. Boykins puts off his pants. He closes his eyes and controls his legs to stand up. Lucy Ann puts it on him. She wraps it around his left upper tight. E. Boykins winces as its very small needles stab through his skin directly to his axons, intervening in neural signals transitions.

Lucy Ann wraps the lower part of its to his ankle and locks each connection parts of exoskeleton to each joint including knee, shin and thigh. Lucy stands after finish.

LUCY ANN  
How do you feel?

E. Boykins opens his eyes. He smiles and sways his left leg. His smile widens and feels that his leg is easier to be controlled. It almost circulates.

E. BOYKINS  
This is good. Thank you, John Henry.

LUCY ANN  
Let's do it on another leg.

E. BOYKINS  
Put it on.

Lucy Ann does the same she did to left leg, now to right leg. She wraps the lower part of its to his ankle and locks each connection parts of exoskeleton to each joint including knee, shin and thigh. Lucy stands after finish.

LUCY ANN  
Move your right leg.

E. Boykins smiles and sways his right leg. His smile widens and feels that his leg is easier to be controlled. It almost circulates.

E. BOYKINS  
Another good one.

LUCY ANN  
Test both of your legs.

E. BOYKINS  
Easy legs.

E. Boykins walks around Lucy Ann who looks after him.

E. BOYKINS  
Okay. This is better.

LUCY ANN  
Do you feel pain around your axons now?

E. BOYKINS  
It's normal like nothing happens.

LUCY ANN  
That's good to hear. Now try to run.

E. Boykins stops and starts running at place. The exoskeletons control his legs to circulate.

E. Boykins kicks the air and jumps. He can do everything like other able-bodied humans.

E. BOYKINS  
Yes, good. Better.

E. Boykins jumps with summersault in the air.

E. BOYKINS  
Very flexible and strong.

JOHN HENRY  
Then this way, you'll be able to defeat  
Skynet easier without your wheelchair.

E. BOYKINS  
Yes. I can circulate.

PICHITCHAI  
This is somewhat congratulation.

E. BOYKINS  
I think Allison may be very proud of this.

E. Boykins quickly grabs his pants and passports and exits the office. Pichitchai, Semina, Murch, John Henry and Lucy Ann smile after him.

MURCH  
Then what is our business here?

INT. ALLISON/E. BOYKINS' ROOM – DAWN

The small reception room looks very like a hotel room but many things make it special. Allison is asleep on the big bed. Nevlin keeps watching at the two kids on another bed.

E. Boykins walks in the room. Nevlin turns to him.

NEVLIN  
You can walk?

E. BOYKINS  
John Henry's and Emma's creation.

NEVLIN  
Good luck to you.

E. BOYKINS  
How are the kids?

NEVLIN  
Still sleep, sir.

E. BOYKINS  
I really can't wait to tell Allison this news.

E. Boykins walks and sits down on the edge of the bed beside Allison who is still asleep. He strokes her hair lovingly.

E. BOYKINS  
But I don't wanna wake her up.

NEVLIN  
Master, do I have to fight against Skynet?

E. BOYKINS  
No. You should stay here and take care of  
them. You have to protect them with all your  
abilities. Dr. Buhai and Dr. Burnett will be  
here. If kids need care, let them help you.

NEVLIN  
Yes, sir.

E. Boykins looks back at sleeping Allison. He gently kisses on her forehead.

INT. RECOVERY ROOM – MORNING

John sits on the edge of Cameron's bed, looking at her cute sleeping look. Cameron wakens, sees and smiles at John.

CAMERON  
Hi.

JOHN  
Hi.

CAMERON  
Where are our daughters?

JOHN  
The doctor just check them. Nothing we  
should be worried. How is it? I mean  
the incision. How was it like?

CAMERON  
With anesthetic, I didn't feel anything much.

John strokes her hair and fondles her cheek.

JOHN  
What now? Did you feel any pain?

CAMERON  
No. It's very normal. Just like I never get  
surgery. I think it's because of my eugenics.

JOHN  
You have regenerative abilities.

CAMERON  
I remember that. What if the doctor know?

JOHN  
He won't remember anything about us.

PF E. BOYKINS (O.S.)  
Hey! How are you?

PF E. Boykins enters the room and walks straight to them.

PF E. BOYKINS  
Dr. Manny D'Costa's mind is very easy  
to be hacked. He's weak. Don't worry.

CAMERON  
John, I'm so hungry.

JOHN  
Nurse will serve you breakfast very soon.

Cameron gets on the side of the bed put her legs over the edge and stretches out her right arm. John provides a support for the arm and gets ready. Cameron slides down on her feet and almost falls over. John catches her around waist. Cameron straightens up and starts to shuffle legs.

CAMERON  
I hope so. What good would be a decrepit  
Cameron? Let's get to that table!

Cameron is now more certain after a few steps, but still prefers John's support.

CAMERON (cont'd)  
I don't know why I have this impression.

JOHN  
Maybe you dreamed it.

CAMERON  
(thinks for a second and then NODS)  
Maybe.

Just as they sit at the table, the nurse enters with a rolling cart loaded with food.

NURSE  
Ma'am, at this point, we have to serve  
you all about protien and soft breakfast.  
After surgery, your body wouldn't be able  
to eat heavy foods.

JOHN/CAMERON  
Thank you.

The nurse looks at John and seeing that she won't be needed, leaves. PF E. Boykins walks away.

JOHN  
Hey! Where are you going?

He turns back with a smile.

PF E. BOYKINS  
I have where to go and don't wanna distract you.

JOHN  
Thank you very much.

PF E. BOYKINS  
You're welcome, pal.

PF E. Boykins leaves them.

JOHN  
(to Cameron)  
Let's eat.

Cameron starts dumping food on her plate. John takes her plate and puts it in front of him and gets the other plate and puts a small quantity of food on it.

At first, John spoon-feeds her. He looks her eating. She looks completely sexy when she chews her food and this can't really stop John's smile.

John spoon-feeds her again.

CAMERON  
Mmmm. John, I think you should eat some.

JOHN  
Okay.

Cameron spoon-feeds him and smiles.

EXT. T-500 FACTORY – MORNING

The factory looks like the Desert Canyon Heat And Air warehouse in S02EP13. No windows. No way to see in or out. At the end of the dirt road is the factory. We already knew this information. But it's not just that, there are USAF military cars park in front of the factory too.

Sarah Connor, Matt Murch, Semina Cruel, and James Ellison have hidden behind a large tree trunk. Sarah and Ellison hold up a military grade pair of binocs. Scanning the lot looking for the safest way to get inside. Something gets Sarah's attention.

BINOCULAR VIEW.: Zoom in at the entrance just as the car parks and the CM SGT. ROBERT BOB ROSSBASH(the one who has Terminator's look) gets out and walks toward two guards who always guards the front door.

EXT. T-500 FACTORY FRONT DOOR – MORNING

We see Robert clearer, he has worn like "Uncle Bob" in T2, he walks toward the guard with a friendly smile. His smile isn't dismal. He's real.

Robert reaches in his jacket and hands his license toward the

guard who quickly glances at it.

E.C.U. THE LICENSE THROUGH THE GUARD'S POV.: The name is "Robert Bob Rossbach". Born : 23 Apr. 1972. The ID is flawless. The photo looks very real.

The guard looks up at the terminator, nods and hands back the license. Terminator walks in the factory easily.

EXT. T-500 FACTORY – MORNING

Sarah and Ellison lower the binocs as Semina and Murch fill the deactivated FUEL CELLS that have been installed on small time bombs, into the backpack. Both Ellison and Sarah look confused.

ELLISON  
That guy, he's terminator?

SARAH  
Yes. The older model. T-800. Maybe right.

MURCH  
Is it a problem?

SARAH  
Not a problem. We have to know who he really  
serves. He's reprogrammed or the original.

SEMINA  
We're ready, Sarah.

Semina grabs her backpack and goes to hide behind a tree. She picks a .50 caliber rifle up and aims right at the target nearby the front door.

Murch nods and hands Sarah his backpack that contains the hydrogen fuel cells and time bombs. Sarah and Ellison carefully walk off. Murch picks his M-16 from the ground, guarding Semina.

INT. T-500 FACTORY AUXILIARY CORRIDOR – MORNING

Everything is smooth metal surfaces and designed like most of factories around the world that are for robotic production. The four high ranking navy officers including LT. GENERAL BREWSTER, walk down the hall with LUCAS LINDAS(F03E12). Lucas and Lt. Gen. Brewster is talking as they walk.

LT. GEN. BREWSTER  
From the percentage of those T-500s, I think it's okay.

LUCAS  
Sir, these new technologies have special  
abilities to protect themselve from the  
super solar storm.

LT. GEN. BREWSTER  
So we don't have to be afraid of the war  
from other countries when the super solar  
storm occures, right?

LUCAS  
Yes, sir.

They arrive at...

INT. T-500 FACTORY - FACTORY FLOOR – CONTINUOUS

The factory floor is vast covering at the very least ten acres. The Fully automated ROBOTIC FACTORY work as before. The T-500s are constructed. It's in full operation. A new T-500 steps off the production line and steps off then walks toward the center of the factory. Lucas and the navy officers walk form the ladder.

LUCAS  
Our T-500 will be ready to use in military  
in a few years, sir. We have plan to rebuild  
many factories in Palmdale, Lancaster and  
Topanga, sir.

LT. GEN. BREWSTER  
I think we should go to the main system core,  
shouldn't we? I think we'll be able to present  
this to Mr. President after we see everything.

LUCAS  
Follow me, sir. We're going to go.

They arrive at the door. Lucas opens the door and lets the navy officers exit before he follows them.

INT. T-500 FACTORY - CONTINUOUS

They walk off the factory and head toward the cars. They get in cars and then the cars drive out. Lucas' car is just a common Sedan and he leads the military cars to the north.

CLOSE ON Sarah Connor and James Ellison walk to face the guard with friendly smile.

SARAH  
Hasta pronto ultratumba.

The guard is attacked by a .50 bullet at the head. He dies easily. Sarah and Ellison stops their smiles.

LOW ANGLE AT THE GUARD, his BERETTA 9mm AUTOMATIC clattering next to him. A hand ENTERS FRAME and picks up this pistol.

INT. T-500 FACTORY - MORNING

Robert walks through those T-500s so easily toward the door at the one end of the hall. He enters the room.

WE PAN TO SEE...Sarah and Ellison hide behind a crate nearby the door. Ellison watches at the door. No one comes to great them.

SARAH  
Are you ready, James?

ELLISON  
I am.

SARAH  
We should go right now.

Sarah and Ellison walk up the corridor so carefully. Eyes keep on those T-500s. Beware the enemies. No T-500s attack them because they don't notice Sarah and Ellison.

INT. LABORATORY – MORNING

It's a tidy computer science laboratory. The scientists station at their controls. The oldest scientist stands watching the monitor just as the Robert enters the lab.

At the door, we see the plastic face designed like a face of T-800/T-850. Robert faces DR. EARLY LOGAN (F03E12).

ROBERT  
Good morning, Dr. Logan.

DR. LOGAN  
Morning, Rob. How are you today?

Some scientists exit.

ROBERT  
I'm fine, doctor. I think you should get some  
rest. Maybe go to the diner closest to here.

DR. LOGAN  
That's a good idea. Wait me a minute.

Dr. Logan looks around screen as Robert waits. Dr. Logan clears some area and buttons. He turns and nods to Robert.

DR. LOGAN  
Let's go.

They leave the room.

A while later, Murch enters the room and walks over to those screens, starts his skills.

INT. T-500 FACTORY – MORNING

Those T-500s all become deactivated. The lights in their eyes are shut down. The scientists run out from the lab toward the exit with fear. The people inside starts running too.

C.U. SARAH AND ELLISON ON THE CORRIDOR. They smile happily.

SARAH  
Murch did his good job.

ELLISON  
That's very good for us.

SARAH  
Let's bomb this place.

Ellison grabs a time bomb which is installed the hydrogen fuel cell with it, from the backpack. Sarah rises her iPhone 4S and calls for her friends.

ELLISON  
Those are deactivated. It's easy right now.

SARAH  
(on phone)  
We have to go in a few minutes.

Sarah hangs up. Ellison pushes on the red button and throws into the center area of the factory.

E.C.U. THE TIMER. The time is running down from 00.03.00.

Murch exits from the lab and sees the bomb working. He quickly runs to join Sarah and Ellison, then they exit.

EXT. T-500 FACTORY – MORNING

Sarah, Ellison, and terminator run out from the factory just as the SUV comes and screeches to a stop in front of them. They jump into the SUV so fast. Semina opens the passenger door, Murch enters. Sarah and Ellison enter the back seat.

SARAH  
Go!

The SUV is drived out by Semina.

Sarah looks back at the factory as they get far enough from it. She gestures for Ellison to give her the remote detonator. Ellison hands her a REMOTE DETONATOR, a small transmitter with a red plunger.

SARAH  
Thank you.

Sarah looks back at the factory. Semina's phone rings.

TIGHT ON SARAH'S HAND as she pushes the plunger with her thumb.

THE FACTORY explodes in hydrogen fuel cell explosion. THE NON-NUCLEAR MUSHROOM CLOUD forming explosion has eliminated all the visible area of factory, the initial shockwave shakes the SUV up a bit. Sarah smiles proudly after she sees the result. Semina hangs up.

SARAH  
My gift.

SEMINA  
Sarah, where will we go then?

Sarah turns to Semina.

SARAH  
Who called you?

SEMINA  
Stefan. He and his team arrived at Mecca.

SARAH  
So he's ready to start his plan. What about  
General Pichitchai and Stefan Junior?

SEMINA  
I didn't receive their call.

SARAH  
Forget it. Let's go to the LA core. Everything's  
there. Skynet can't win us if we destroy all  
its servers and cores.

INT. MOTEL ROOM – NIGHT

SUPERIMPOSE: "MECCA, SAUDI ARABIA"

A dilapidated room that has seen decades of visitors. One bed. A dresser. Preecha Singhmak, Mia Lindow, E. Boykins and Allison enter the motel room.

PREECHA  
I don't like this place. Let's finish it and get  
back to Los Angeles. I really hate this room.

E. BOYKINS  
Don't worry. We are gonna finish it tonight.

MIA  
I will go out. Find the car and bombs.

E. BOYKINS  
Good. We'll go and finish it an hour later.

Mia exits the room. E. Boykins and Allison put down their backpacks and lie on the bed. Preecha sits on the chair. But a few seconds later, E. Boykins stands up. Allison follows.

ALLISON  
Where are you going?

E. BOYKINS  
You will be more surprised than my new legs.  
I need you to just wait here. I'll be back.

ALLISON  
Okay.

E. Boykins exits the room.

**END OF ACT 1**

* * *

**ACT 2**

**(Challange to psychics)**

EXT. KALIBA HEADQUARTER SAUDI ARABIA BRANCH - NIGHT

The corporate headquarters of a mega-electronic corporation. As imposing cubist castle of black glass. Looks very like Cyberdyne System building.

ALLISON (O.S.)  
So you have a man here. How?

INT. SECOND FLOOR/ELEVATORS - NIGHT

The elevator doors slide open and Preecha Singhmak, Mia Lindow, E. Boykins and Allison, all wearing mask, stride out.

E. BOYKINS (cont'd)  
I hypnotized him when we arrived here.

They walk down the corridor. A man, only one Arabian who is still here tonight in a hurry. A man with much to do. This one's eyes look emotionless like he's fallen deeply into the big whirlpool of high skill hypnosis.

He reaches a solid security door and zips his ELECTRONIC KEY-CARD through the scanner. The door unlocks with a clunk. The sign next to the door says in Arabic as: SPECIAL PROJECTS DIVISION: AUTHORIZED PERSONNEL ONLY.

INT. SECURITY STATION - NIGHT

They pass through the security checkpoint so easily. All activities on the floor on their bank of monitors. They unlock another service door with E. Boykins' fake card and enter -

INT. ARTIFICIAL INTELLIGENCE (A.I.) LAB - NIGHT

The lab is quite large, comprising banks of processors, disk drives, test bays, prototype assembly areas. Extremely high tech.

PREECHA  
Now we reach the lab.

E. Boykins turns to the man.

E. BOYKINS  
Thank you, man. It's time for you to sleep.

Immediately, the man's eyes close and he drop to ground.

E. BOYKINS  
This place is gonna be destroyed by us.

ALLISON  
I think it's too easy.

E. BOYKINS  
This place is where they research for Skynet  
but he's not here. He's somewhere in here.

He looks around.

PREECHA  
We have to find it before it knows...

E. BOYKINS  
It knew we got here.

PREECHA  
Mia, prepare your bombs.

MIA  
Yes, sir.

Mia walks back to the way they came from.

E. BOYKINS  
Skynet, did you hear me? Do you understand what  
I say? Come on. Let's end this easier. We bomb  
here, you won't be able to control everything  
around Africa at ease.

The Security System goes nuts. ALARMS and SIRENS SOUND all around the room. Everyone looks around with fear except E. Boykins. Allison holds E. Boykins' arm.

E. BOYKINS  
Don't be afraid, Allison.

ALLISON  
What is happening?

COMPUTER VOICE  
Automatic Targeting Systems active.

ANGLE ON THE WALL where it automatically opens, revealing a lot of T-500s with assualt rifles. That hall is like a new big theater. The T-500s suddenly SNAP TO ATTENTION like hunting dogs on the trail. Each T-500 picks out a target and watches it descend into position.

Allison grabs her cape at ready.

COMPUTER VOICE  
Laser Designators active.

From each T-500s rifle a bright red LASER BEAM appears. They crisscross the theater in sweeping arcs until they LOCK ONTO their targets.

PREECHA  
Is this gonna be fun?

E. BOYKINS  
Can be, my friend.

COMPUTER VOICE  
Prepare to fire. Lock and load.

E. BOYKINS  
(shouting)  
At least make it a challenge for me.

COMPUTER VOICE  
Commence firing.

And the room fills with thunder.

The T-500s OPEN FIRE on the targets. The guns BLAZE with Automatic Fire, raking six rounds a second.

E. Boykins spreadeagles, stopping all bullets in front of him.

E. BOYKINS  
Now it's my turn, metal.

E. Boykins, Allison and Preecha start running. All bullets reverse to attack vanguards. A quarter of all T-500s are deactivated.

COMPUTER VOICE  
Attack!

E. Boykins stretches his fist. His mind bolt blast the 40 of them. Guns and pieces are broken into small pieces. Floor becomes craze in one shot.

Allison flings her cape to snap a T-500's head, thrashes it to collide with another so easily.

Preecha rushes to two T-500s at the same time, his fists rocketing to destroy their heads. Preecha pulls his fists out and jumps, spins in the air and crashes with other two T-500s.

E. Boykins continues his fighting against old model machines by his telekinetic power. He can destroy ten T-500s in one shot.

Allison flings her cape to snap back a fallen gun into her hand. She rakes it at those T-500s as she drops to avoid attacks from them. E. Boykins gets close to her, protecting her with his mind power. Preecha still fights against them without weapons.

PREECHA  
This is kinda fun, Skynet.

Preecha grabs another one's head, twisting it. He rushes to another and gets shots but he doesn't die. He summersaults and uppercuts a T-500. E. Boykins and Allison rush to join, killing two T-500s with their new assualt rifles.

E. BOYKINS  
Skynet is nothing.

ALLISON  
Is this what machines can do?

Preecha kicks one to collide with another before they explode. Allison thrashes her cape at a T-500's sensor eyes. E. Boykins moves a metal to stab its chest. Preecha legsweeps three T-500s, breaks their arms. Preecha kicks one of them to collide with the wall, piercing through wall, revealing another big room behind the big theater.

COMPUTER VOICE  
You all will die here.

ALLISON  
No one here can kill us.

Allison jumps with a kick at a T-500 who falls. She grabs a gun and rakes at its head, deactivating it.

Now there are only 25 T-500s in this room.

Allison uses her cape to attack other two, pushing them to collide with each other.

Preecha and E. Boykins jump over the three T-500s who rake at them. Preecha's knees land on a T-500's head, splatting it. E. Boykins kicks a T-500 away. He stretches his fists, two more T-500s' bounce off and explode.

PREECHA  
This is very fun for me.

Preecha punches through T-500's chest as Allison wraps her cape around one of them and E. Boykins kicks another away from them.

E. BOYKINS  
Yes, I think so.

PREECHA  
What the hell we should know?

E. BOYKINS  
Police is coming.

Preecha pulls out a power source. The T-500 falls.

PREECHA  
That's not a problem. When will she be back?

E. BOYKINS  
Her bombs are almost ready.

Allison spins and flings her cape to snap back another assualt rifle. She rakes it at a T-500, killing it. E. Boykins stretches his hand, throwing mind power bolt to destroy five T-500s at the same time. Preecha grabs a billet. He cuts a T-500's joint connection cord. Preecha spins to do the same with another.

PREECHA  
These things are as strong as us, aren't they?

Preecha throws his billet forcefully. It attacks one T-500, pierces through its chest to another, other and other one.

Allison jumps to sit on a T-500's head and fires her gun into it.

E. Boykins stretches his hands to the last one, pushing it away. It bounces to collide with Preecha's fist. WHAM! The fist pierces through its chest. Its system is off.

Preecha pulls his hand out, lets it fall to ground.

PREECHA  
Finish.

The trio join up in front of the new room.

E. BOYKINS  
I have a little headache now.

PREECHA  
Are you okay?

E. BOYKINS  
Just a bit. Like when you just solved  
three algebraic equations in ten minutes.

Mia gets into the lab with two backpacks.

PREECHA  
I and Mia will bomb here. You go to the  
core and destroy it. If those polices  
are your problem, we'll clear them all.

E. BOYKINS  
Don't kill anyone.

PREECHA  
I'm not a murdurer.

Preecha moves to Mia.

PREECHA  
Let's get the rest here. All these time  
bombs belong to Allison and Stefan.

MIA  
Yes, sir.

E. Boykins and Allison grab those backpacks.

E. BOYKINS  
(to Preecha)  
Good luck, Pond.

Preecha nods. E. Boykins and Allison run into the new room. Mia and Preecha make their way back for more bombs.

INT. ELEVATOR BANK – NIGHT

E. Boykins and Allison run into the elevator bank. They both find three elevators and six T-500s aiming guns at them.

E. BOYKINS  
Hell.

They OPEN FIRE but all bullets stop before them. E. Boykins stares hard and then all bullets return to attack those T-500s, deactivating them all.

E. Boykins leans on his head. Allison worries about him.

ALLISON  
What's wrong?

E. BOYKINS  
Don't worry, sweetie. I just use much  
mind power. Let's finish this together.

ALLISON  
Okay. Go on.

E. BOYKINS  
We have to go down the basement.

E. Boykins opens the elevator door with his mind power.

INT. SKYNET MECCA SYSTEM CORE CHAMBER – NIGHT

The room that houses the supercomputer is massive. About the size of a shopping mall. In its center is a very tall tower this is the Main Computing Core of Skynet and it is as tall as the Washington Monument circular and has a series of red rectangular lights that rise up and down its sides. Around this tower are a collection of 24 processing towers they are surrounded by a collection of cooling wafers. These cooling wafers are pieces of composite metal surrounded by a liquid whose precise ingredients will never be known. The only thing one can say is that they stay within a variance of .5 degrees C of the optimum cooling temperature at all times.

Forming another ring at floor and ceiling level is an actual circular track. It is unclear what this tack does but since it surrounds the entirety of the Skynet Processing Complex one must assume it serves some purpose perhaps it is for some sort of security device.

Half way between the processing towers and the Main Computer Core stand 12 more towers. These also have a series of red rectangular lights running from top to the bottom.

Skynet Vision: There are billions of small moving pictures. In reality there are many many more but since Skynet is quite literally looking at everything simultaneously. On multiple servers with multiple Skynet Visions at the same time it would be overwhelming to show you all of that. Every few moments one will enlarge and be scrutinized further before it becomes once again an almost tiny speck. This is how Skynet keeps track of the world. The red lights in one of the twelve towers- wink out one by one until they are all extinguished.

And at one largest monitor, it displays that E. Boykins and Allison are entering its complex here.

CLOSE ON GATE as it explodes.

Allison and E. Boykins, holding assualt rifles, enter the big basement complex of Skynet in Mecca version. Allison looks a bit frighten.

ALLISON  
What the hell is this?

E. BOYKINS  
There is nothing you should be careless here.

ALLISON  
So it has to be careful.

E. BOYKINS  
Allison, are you ready?

ALLISON  
Ready for what?

E. Boykins holds Allison on his arms and soars up, flying toward the main tower, the one where is exactly Skynet brain core.

E. BOYKINS  
What now, metal?

E. Boykins carefully lands on the tower.

E. BOYKINS  
(to Allison)  
Allison, install the time bombs quickly.

ALLISON  
And we must hurry up. I feel a bit cold.

E. BOYKINS  
That's what I told you. Skynet is trying to  
freeze us here. And I'm trying to stop him.

Allison nods and starts the bombs installation.

INT. LAB - NIGHT

Preecha and Mia are working like a crack team, rigging the explosives. She is taping the claymores to the gas cans with duct tape to create powerful incendiary bombs. Preecha is attaching claymores and blocks of C-4 plastic explosive to the large MAINFRAME COMPUTER cabinets nearby. All the claymores are wired back to one detonator with has a RADIO-CONTROL RELAY switch.

Mia puts a remote detonator on a table near Preecha.

E. BOYKINS (V.O.)  
Pond, I'm in your head. Polices are coming.  
You have to let Mia work on them and come  
here to help us. Skynet is blocking our way.

PREECHA  
What can I do?

E. BOYKINS (V.O.)  
He's freezing us down the basement. You have  
to come and help us. My brain still has limit.  
I'm gonna be tired.

PREECHA  
Okay, wait me there.  
(to Mia)  
Lindow, please manage all polices, get a detonator  
and follow me down the basement. My friends need help.

MIA  
Yes, sir.

Preecha is about to leave but he turns to Mia before.

PREECHA  
Deal with the police but please don't kill them.

MIA  
Trust me.

PREECHA  
Okay. Good luck.

Preecha runs into the way E. Boykins and Allison went.

EXT. KALIBA HEADQUARTER SAUDI ARABIA BRANCH - NIGHT

The cops are jumping from their cars and ducking behind them. Emphasis on small arms here. Behind them an ugly BLACK SWAT VAN screeches into the lot.

We hear the THUMP OF ROTORS as a POLICE CHOPPER arrives and swings in close to the building. It rakes its XENON SPOTLIGHT through the second floor offices.

INT. ELEVATOR BANK – NIGHT

Preecha reaches the main elevators. Hits the button. But it's very slow. So he punches it again, again and again.

INT./EXT. SECOND FLOOR OFFICE - NIGHT

Mia crosses the office toward the floor-to-ceiling windows. She is outlines starkly by the spotlight as it rakes through the dark offices. Without breaking stride she kicks an executive desk toward the window.

Glass explodes outward and the desk topples, falling to the sidewalk below.

Mia, standing at the edge, FIRES A LONG BURST with strafes the police cars lines up below. Cops duck as glass flies. Mia, with her superb aim, hits no one. But noticed is served.

The cops (surprise) FIRE BACK. Mia turns and is walking calmly from the window as glass, office furniture, drapes etc. are riddled by return fire. A few rounds hit her back, but she doesn't notice. She reloads as she walks.

EXT./INT. LOBBY - NIGHT

The varsity takes the field as the SWAT TROOPERS sprint forward by squads. They flank the lobby and work their way inside, deploying rapidly. They move and freeze, behind cover, quivering with adrenaline. They have all that great SWAT equipment: body armor, gas-masks, M-16s, tear-gas launchers, ropes. The works. They make a lot of hand signals and keep their mouths shut. They're well- trained and deadly.

OUTSIDE we see cops firing TEAR GAS grenades through the broken windows into second-floor offices.

INT. FIRST FLOOR CORRIDOR/STAIRWELL - NIGHT

We see the advance squad of SWATs make it to one of the stairwells. They start up, two at a time, covering each other ritualistically by the numbers.

INT. BASEMENT WAY – NIGHT

Preecha runs alone through long corridor where has about four meters tall walls around. Preecha runs and never stops to breathe. Two friends are waiting for him. Mia runs from the elevator, following in b.g. Her hand has the detonator.

Mia sees that Preecha turns left and continues to another way. She looks up to the ceiling and pushes on the plunger.

EXT. BUILDING – SAME TIME

As the face of the building EXPLODES in an eruption of glass and fire. Remains of the second-floor windows shower the parking lot and a huge fireball rolls out, leaping into the sky.

The cops look up, stunned. The helicopter banks away from the heat. Burning debris falls among the cop cars and a number of officers break ranks, pulling back.

INT. BASEMENT WAY – NIGHT

Preecha runs and hears Allison's voice calling his friend's name. So he runs after her voice and finds them in front of a large door where the inside is Skynet core. E. Boykins is lying and Allison is trying to help him up. There is cold blue cloud from the inside of core chamber.

PREECHA  
(in Thai)  
"Is it done?"

E. BOYKINS  
(weakly)  
"You come. Good."

PREECHA  
"I won't leave both of you. Let's go."

Mia runs from another way to join them.

MIA  
We gotta go.

ALLISON  
Mia, get the detonator from me.

Allison hands Mia the remote detonator.

ALLISON  
Push it when we get away from this door.

MIA  
Yes, sir.

Allison and Preecha support E. Boykins up to his feet and walk along this corridor together. Mia follows.

When they reach the elevator...

E. BOYKINS  
(weakly)  
Mia, blast it all.

Mia nods and pushes the plunger.

IN FRONT OF SKYNET COMPLEX, we see the eruption of fire and some shockwave, causing the whole corridor into the stage that it's gonna collapse.

INT. GROUND FLOOR/ELEVATOR/LOBBY - NIGHT

The elevator doors part and Mia eases a look out into the corridor. The walls on either side of him ERUPT WITH BULLET HITS. The SWATs have the lobby end of the corridor blocked off. They're totally trapped, cut off and screwed.

The SWATs fire a tear-gas grenade toward the elevators. It spews the vicious CS gas out in a swirling cloud which envelops the trio, who are pressed against the back wall of the elevator.

MIA  
Keep your eyes closed. Don't move.  
(they nod, eyes squeezed shut)  
I'll be back.

She slings the grenade launcher over her shoulder and walks out into the corridor.

C.U. THE TRIO as we hear sounds of small explosions, gun firing and cries of pain. The trio try not to open their eyes.

EXT. BUILDING - NIGHT

Smoke boils out of the front door as a figure emerges. Firing the tear-gas launcher with one hand, Mia launches all remaining rounds among the cop vehicles. Unprotected officers run, choking and half-blind, slamming into cars and tripping over each other. It is a total rout.

AT THE SWAT VAN on of the SWATs is rapidly handing out the remaining masks to unprotected cops. A FIGURE appears out of the smoke beside him. He looks up. His mask is ripped off and he is handed the empty launcher. Instinctively he catches it. Mia grabs his flak vest with one hand and sails him out into the mist.

INT. SWAT VAN - NIGHT

Mia strides the length of the van and climbs into the driver's seat. No keys in the ignition. She flips down sun visor. The keys fall into her hand. She starts the van and slams it into gear.

INT./EXT. LOBBY - NIGHT

The tear gas has cleared to a thin haze. The uninjured SWATs are tending their wounded. They look up at the sound of shouts and a roaring engine.

THE SWAT VAN CRASHES INTO THE LOBBY in an explosion of glass and debris. Cops scatter as the van screeches across the lobby in a smoking one-eighty, sliding to a stop across the corridor which leads to the bank of elevators. Mia backs up until - crunch – she seals the corridor with the back of the van. Mia calls our three heroes.

MIA  
Quickly, get in van. I'm going out.

The trio stumble along the corridor, coughing.

They leap into the back of the van and Mia hits the throttle. The van roars across the lobby and exits through blown-out windows.

**END OF ACT 2**

* * *

**ACT 3**

**(Plan B)**

INT. SWAT VAN - NIGHT

Mia looks back at her three passengers as she turns the boxy van onto a divided highway. They are catching their breath, still coughing from the CS gas. She looks to the rear-view mirror. No one follows them.

MIA  
Where will we go, sir?

PREECHA  
Try to leave this van somewhere around here.  
We need a new car to go for another car before  
we are sure that we can get back the motel  
safely. Then we'll go home tomorrow morning.

MIA  
As your wish, sir.

Mia drives the van a bit faster.

Allison only interests in E. Boykins who looks weak.

ALLISON  
Do you feel better?

E. BOYKINS  
(weakly)  
I have to tell our friends that we already  
clear Skynet core here. We have to get back.

PREECHA  
We will, pal.

EXT. SWAT VAN - NIGHT

The SWAT van heads to the south. No police car follows.

EXT. SENTRY POST – DAY

Sarah Connor, James Ellison, Matt Murch and Semina Cruel walk toward the sentry post. The gate is locked. They have to get through this gate and their target is the warehouse inside and the big signal tower. Only just four USAF OFFICERS work at and around the post.

INT. SKYNET CORE - DAY

This is somewhat like the core in Baikal Lake, Russia(just a bit like that central core). Humans built this for a machine. It doesn't look like Alien hall but the structure still looks same. The color is all gray metal.

Sarah's team turn on the elevator. They now wearing fake USAF uniforms with their name tags.

SARAH  
I don't know why all robots have been  
removed. It's like that Skynet is gonna  
make this end easily. I don't think that  
it's gonna surrender us easily.

ELLISON  
John Henry told me that Kaliba is having  
big transports for some devices, tools and  
technologies to Atlanta.

MURCH  
Maybe it needs its protection at its biggest core.  
You know. We already stop the constructions of  
many cores and factories. Maybe that thing wants  
this to be the final battle.

They reach at the chamber.

THE CENTRAL CORE is really like the one in Baikal Skynet central core. LIQUID NITROGEN moves through translucent walls and streams down from vents and piping that line the walls and ceiling. CATWALKS and CONVEYOR BELTS crisscross the chamber at angles.

To the left and right, small SIDE WAYS branch off, nearly as vast as the central corridor. On the left we see a GIGANTIC VIDEO WALL. The Video Wall stands just twenty of forty feet high and several hundred feet long, receding down the corridor. From here, Skynet monitors every thing in the warehouse and its chamber too. The largest monitor is showing a dialog looks really like some kind of system connection manager and a map of the world as the background, preparing for the attack on the world.

SARAH  
This is really a freaky big chamber.

The elevator comes to a stop. They've reached the bottom of the elevator shaft.

MURCH  
Destroy it all.

LT. GEN. BREWSTER (O.S.)  
No one can destroy anything here.

They turn to find Lt. Gen. Brewster with some men and weapons on the elevator bank, looking down at them.

They turn again, seeing USAF troops with M-16 guns running from the doors around chamber.

LT. GEN. BREWSTER  
(to his men)  
Take them to interrogation room.

Sarah and friends have to surrender as troops arrest them.

INT. RECOVERY ROOM – DAY

John and Cameron get dressed in their casual suits. Cameron looks stronger. On her bed are two sleeping BABIES. PF E. Boykins enters the room.

PF E. BOYKINS  
Cameron, you must take your daughters and  
go to Atlanta for last battle. John, you  
have to come with me. The Air Force got  
your mother and friends. Change to plan B.  
We have to show up.

JOHN  
So, let's go.  
(to Cameron)  
I have to go. Good luck with your way.

John flashes a kiss to Cameron and follows PF E. Boykins out.

INT. CAIRO INTERNATIONAL AIRPORT – EVENING

EMMA AKAGI, the computer AI programmed by Xander Akagi, with Monica's body, is sitting on a couch. She isn't the same one with Lucy Ann. She just will become Lucy Ann in alternate future.

Emma looks around then smiles, stands and walks to meet Stefan Jr, Maggie Pichitchai, General Anongsak Pichitchai and Stefan who come with backpacks.

EMMA AKAGI  
"General Pichitchai. You are late."

PICHITCHAI  
"Sorry for delay."

EMMA AKAGI  
"I prepared it all night. Everything  
is ready for us to destroy Skynet."

Emma eyes Stefan Jr and Maggie Pichitchai.

EMMA AKAGI  
"So these musts be Stefan Junoir and Maggie."

Stefan Jr and Maggie pay respect to Emma who returns the same.

STEFAN JR/MAGGIE  
"Nice to meet you."

EMMA AKAGI  
"Nice to meet you too."

STEFAN JR  
"Your old look is very beautiful."

EMMA AKAGI  
"I have heard about that a lot from Stefan during  
chat on facebook. You both know future me as well."

STEFAN JR  
"Yes, sir. Future you are a wife to John Henry."

EMMA AKAGI  
"Very new thing. Cyborgs become cripple."

MAGGIE PICHITCHAI  
"Why the hell they can't, Ms. Akagi? Machines  
also have minds. It can usually happen in the  
Utopian future we left. It doesn't differ soul  
in humanity and it's very stable."

EMMA AKAGI  
"Maybe we'll have many things to talk about when  
we come back to Thailand after this is finished."

Emma looks around them.

EMMA AKAGI  
"Anybody of you eat anything yet?"

PICHITCHAI  
"We are completely full of foods on plane."  
(eyes on Stefan)  
"And someone have slept all time on plane."

STEFAN  
"Oh! Dad, you have moved us since party ended.  
It's very usual that I would fall asleep."

There's LAUGTHER.

EMMA AKAGI  
"Let's go."

Emma leads them out of here.

INT. HOTEL – EVENING

Emma leads Stefan Jr, Maggie Pichitchai, General Anongsak Pichitchai and Stefan into a hotel room. It's look unlike other because Emma have changed it to be some kind of small laboratory.

EMMA AKAGI  
"It's more like lab but don't worry. Everything  
will be clear out when you get out to destroy."

STEFAN JR  
"So let's clear it out."

PICHITCHAI  
"When? Please don't tell me now."

STEFAN JR  
"We have to finish this and fly back to LA."

STEFAN  
"I like this very much."

Stefan is looking at ten time bombs on the table. All are coupled on hydrogen fuel cells. They all look very very strong.

STEFAN  
"So this is enough to destroy the whole  
area of a castle. I think Skynet will be  
deleted easily. And then we'll delete  
everything in every police's mind."

STEFAN JR  
"Yes. That's our plan."

Stefan Jr smiles.

EXT. KALIBA GROUP HQ EGYPT BRANCH - DUSK

A sprawling glass and metal complex covering many city blocks. The entrance is a large plaza filled with PEOPLE getting back their homes.

Stefan Jr's team is watching outside. They have backpacks and wear sun glasses.

PICHITCHAI  
I never thought before that Egypt has this  
big modern building. Sometimes I think  
we shouldn't look down upon anyone.

STEFAN JR  
Okay. We have to wait till nightfall.

STEFAN  
Can I get in there tonight?

PICHITCHAI  
Yes. You can. But you have to be around me  
during the fight. We have three psychics  
with one genius human and one machine.

STEFAN  
Let's all guards sleep tonight.

INT. INTERROGATION ROOM – DAY

Sarah Connor sits in the sterile surroundings. Lt. Gen. Brewster sits down opposite side of her.

SARAH  
You dare grill me yourself, General.

LT. GEN. BREWSTER  
Do I have to be afraid of you, bitch?

SARAH  
What do you wanna know from me?

LT. GEN. BREWSTER  
That's what I should ask you. What do you want  
from us? Why do you wanna destroy this place?

SARAH  
I never want any lives here. I'm here only for Skynet.  
I have to destroy it. It's gonna burn our world when  
it becomes online with every military weapons.

Lt. Gen. Brewster LAUGHS a very ill-placed laugh.

SARAH  
I'm telling you the truth.

LT. GEN. BREWSTER  
Computers can think like that.

SARAH  
But you may have to think that who is behind  
Skynet. Jack Van Meter. You know him? You know  
Kaliba Group? I think you should eye him and  
let me go. Shut Skynet down.

LT. GEN. BREWSTER  
Why do I have to believe you?

SARAH  
Maybe you can try to grill other of my friends.  
They will tell you to eye on Kaliba and Jack Van  
Meter too. Maybe send your men to check Skynet.

LT. GEN. BREWSTER  
Okay, I'll try to listen.

INT. INTERROGATION ROOM – MINUTES LATER

Ellison sitting rigidly in the interrogation room.

ELLISON  
I don't see how you figure this out.  
Like Sarah told you, you should use  
this time to look at Jack Van Meter.

LT. GEN. BREWSTER  
So you still believe that Skynet  
will destroy this world?

ELLISON  
Yes. Please, you have to believe.  
I know it's hard but you have to.

LT. GEN. BREWSTER  
I'll consider this later.

INT. INTERROGATION ROOM – A WHILE LATER

Matt Murch looking much more relaxed in the interrogation.

LT. GEN. BREWSTER  
Mr. Matt Murch, I can't believe this.

MURCH  
I know it's hard to believe.

LT. GEN. BREWSTER  
You have been working for Catherine Weaver  
for many years. I never expected that you  
would do all this with fugitive Sarah Connor.

MURCH  
She's been telling the truth.

LT. GEN. BREWSTER  
Okay. I won't ask you again.

Lt. Gen. Brewster sighs.

INT. INTERROGATION ROOM – LATER

Semina Cruel is sitting. Lt. Gen. Brewster tosses many folders onto the table.

LT. GEN. BREWSTER  
Semina Cruel. Oh! You, high skill of  
hacking? Which is your real name?

SEMINA  
Why do you wanna know?

LT. GEN. BREWSTER  
Forget it. I don't wanna know that. I can't  
really figure out how you can end up with  
Mr. Matt Murch after Carlos' death.

SEMINA  
Do I have to answer?

LT. GEN. BREWSTER  
No. I prefer to know the old question.

SEMINA  
Why do I believe in Sarah?

LT. GEN. BREWSTER  
Yeah. Why do you believe in Sarah?

SEMINA  
I can't really tell because there is  
no exhibit to support my belief. It's  
good-for-nothing to tell you anything.

LT. GEN. BREWSTER  
Okay. I won't question much. I know I won't get  
anything from you. Good luck with your criminality.

Lt. Gen. Brewster stands, opens the door but before he exits...

SEMINA  
General Brewster.

He turns back.

SEMINA  
My criminality isn't the wrong thing.  
Because I'm protecting human lives.

LT. GEN. BREWSTER  
So please say this after Skynet actually  
destroys the world. I'll believe you all.

SEMINA  
That musts be too late.

LT. GEN. BREWSTER  
Good bye.

He exits. Two navy officers enter.

INT. LONG CORRIDOR – DAY

John Connor and PF E. Boykins walk through many glass doors and view of the research center, the Hunter Killer drone research hall, many high tech labs. They walk through many people who don't notice them and they talk while their attentions are gotten at the large door forward.

JOHN  
I never knew from Stefan that you can do this.

PF E. BOYKINS  
A telepath can do more than just talk through  
mind network, Connor. I can control their minds.  
I have trained this to live in US like American.

JOHN  
I never ask but how can you live with American ID.  
I have heard that at the age you traveled back, no  
Thai can change the nationality.

PF E. BOYKINS  
One thing you should know, John Connor. Sometimes  
people would like to see illusions. I can lie to  
everyone's eyes including yours.

They reach at the door then they enter.

INT. ANOTHER FLOOR CORRIDOR - DAY

ELEVATOR DOORS OPEN and John and PF E. Boykins walk warily into the corridor. This floor may be classified, no one else is here.

PF E. BOYKINS  
Okay. Let's see this, Connor.

They stop and turn to face each other.

PF E. BOYKINS  
Look at me and say which sex I am.

John looks confused as...

JOHN'S POV.: PF E. Boykins in front of him, MORPHS to be a beautiful girl with same eyes and same color hair. She looks very beautiful with her slender shape and soft face.

John closes his eyes.

PF E. BOYKINS  
I can't read your mind but I still can  
create you an illusion. I can lie to you.

John opens his eyes again and smiles.

JOHN'S POV.: Who he sees now, is a male, not a girl he saw.

JOHN  
This is very interesting.

PF E. BOYKINS  
Your brain can lie to you if you can't  
control your mind and your concentration.

JOHN  
And now is Stefan's power enough to do all this?

PF E. BOYKINS  
Not enough but if he tries or becomes very angry,  
he can do like I have been doing now. Maybe he  
is able to better than all psychics around here.

JOHN  
I can say that you all psychics are so complicated.

PF E. BOYKINS  
Let's continue our way.

They continue walking.

JOHN  
And what can kill your abilities?

PF E. BOYKINS  
Seboneta Medicamento and brain tumors.

JOHN  
Brain is the most important part, huh?

They stand in front of a wide security door. A sign above reads SPECIAL PROJECTS DIVISION: AUTHORIZED PERSONNEL ONLY.

PF E. BOYKINS  
Yes.

PF E. Boykins turns to the door, reaching his hand to it. He closes his eyes, every lock is unlocked rapidly. The door unlatches.

INT. HOLDING CELL – DAY

Sarah Connor, Semina Cruel, James Ellison and Matt Murch sit in the whole white cell, seriously thinking. The door opens and an USAF officer enters the room. He looks completely emotionless.

USAF OFFICER  
Sir, you all have to gird me and go now.

They still look confused but the officer loses consciousness and lies to the floor, sleeping now, so they realize it. They all stand and walk over to the officer.

PF E. BOYKINS (V.O.)  
Please hurry up. I and John will wait with bombs.

INT. HOLDING CELL – A MINUTE LATER

Sarah grabs a pistol from the binded officer.

SARAH  
Let's go.

Everyone exits the cell.

INT. SECURITY SURVEILLANCE ROOM – DAY

Everyone in this room is unconscious like they are drugged. One of the screens shows the interior of the lab. This lab looks really like the lab we saw in T2 but it has many new upgraded technologies. There are five LAB TECHS, three of whom are Japanese, and three AIR FORCE OFFICERS working alongside them.

It's a few seconds before our PF E. Boykins and John enter the lab. When they face anyone, that one will always fall asleep.

TILT UP to the air vent as it is kicked open.

Sarah's team jump down, each at a time.

SARAH  
We got here.

PF E. BOYKINS (V.O.)  
Mr. Murch, delete all records and  
kill all the survillance cameras.

ON MONITOR as PF E. Boykins and John go to the main lab doors.

Murch looks around the room.

MURCH  
I can do all this.

PF E. BOYKINS (V.O.)  
That's the answer I have been waiting for.

INT. SKYNET LAB – DAY

Everyone's been unconscious. Every job has been dropped. PF E. Boykins and John stop in front of a servo-lock.

The door opens and they enter the Skynet Core.

EXT. HOUSE – AFTERNOON

Tight on the Shelby Cobra as it pulls up and parks. Pan up black boots and legs of John Henry who coldly surveys the immediate area. Near him are Savannah Weaver, Catherine Weaver, Cameron(with her daughters), Nevlin(with Sittipong), Dr. Mary Buhai (with Orwell) and Felicia (with Michael). Savannah and Catherine have backpacks.

John Henry strides toward the front door, passing a mailbox which reads: WE ARE THE RESISTANCE, ATLANTA BASE.

INT. HOME OFFICE - AFTERNOON

Lucy Ann seats before a drafting table, her eyes looking at TV, getting online via wireless. In the background is a surfboard.

LUCY ANN  
Come on in, John Henry.

INT. HALL – AFTERNOON

The front door opens. John Henry and his team enter the house.

JOHN HENRY  
Emma, I'm here.

LUCY ANN  
Thank you for coming here. I've prepared  
all in here for all of you. Close the door.  
Tonight, we'll stay here and hunt Skynet.

JOHN HENRY  
You can know location?

LUCY ANN  
I tried through different communication line  
to protect myself from Skynet and found him.

JOHN HENRY  
That's very good. I can't say that some psychics  
can't come. They have their duties to destroy the  
system core in Cairo city, Egypt tonight.

LUCY ANN  
What about Stefans?

JOHN HENRY  
Two confirmed me via phone.

CATHERINE  
I and Cameron will protect this place. Nevlin,  
Savannah, Dr. Buhai and Dr. Burnett will take  
care of the kids. I believe that they can't  
attack us before we start.

Catherine reaches her open hand forward and gestures for others to stack their hands over hers. Cameron nods and is the first one who does it. Then John Henry and Lucy Ann, then Nevlin and Savannah. They stare at Felicia and Mary.

MARY BUHAI  
We are team.

Mary stacks over theirs. She nods to Felicia who still hesitates. Burnett sighs and stacks hand over theirs. The whole become teamwork. Everyone rises their hands at the same time.

**END OF ACT 3**

* * *

**ACT 4**

**(Last Battle against Skynet starts)**

INT. LIEUTENANT GENERAL BREWSTER'S OFFICE – DAY

Lt. Gen. Brewster takes a seat behind his desk and faces his computer. A few clicks of his mouse and the PRESIDENT(F03E12) is seen on a teleconference monitor.

LT. GEN. BREWSTER  
Mr. President.

But the screen suddenly turns off. Everything becomes offline. Lt. Gen. Brewster looks around and an officer enters the office and quickly salutes.

LT. GEN. BREWSTER  
What happened?

OFFICER  
Sir, Skynet is destroyed.

LT. GEN. BREWSTER  
How can...

Immediately, Lt. Gen. Brewster and the officer fall asleep.

EXT. LA SKYNET INSTALLATION – DAY

An SUV drives away to the east as the big area in the back of facility already exploded, smoke rises up to the sky.

INT. SUV – DAY

PF E. Boykins is driving the car.

PF E. BOYKINS  
We gotta go to Atlanta.

SARAH  
How about Stefan's group and Pichitchai's group?

PF E. BOYKINS  
Pichitchai's group have to attack tonight. They can't  
come back faster. After Stefan's group get back, we'll  
immediately attack Skynet base.

SARAH  
Where are Cameron and daughters?

PF E. BOYKINS  
Atlanta now.

MURCH  
General Brewster?

PF E. BOYKINS  
He'll wake and get confused that what  
just happened to his Skynet center.

INT. COMMAND AND CONTROL CENTER – CORRIDOR - NIGHT

Large plasma monitors with projected maps of the whole Africa. High-tech terminals, etc...chief Programmer is approached by his assistant. He looks a little different — heavier, longer hair.

ASSISTANT  
(in Arabic)  
"Sir, something is weird. Skynet is trying to  
connect to unknown computer server in US."

The chief programmer looks to his assistant with confusion before he walks over to him.

INT. CYBER CELLAR - LOW LIGHT

A state-of-the-art vault which houses the nation's largest computer data base and defense platforms. Thick titanium blast doors insure that even in a nuclear event, the computer system would remain fully operational.

ROBOTIC ARMS mounted to a track on the ceiling control the loading and unloading of data. It's a fully automated system with little to no need for human intervention.

Inside the cellar are fifty large computer towers. -Displayed on the face of each tower are monitors, each displaying. Dazzling graphics which clearly illustrate the progress of the 200 terabyte download.

EXT. KALIBA GROUP HQ EGYPT BRANCH - NIGHT

A sprawling glass and metal complex covering many city blocks. The entrance is no crowded, only some guards with M16s.

Stefan Jr's team is watching outside. They have backpacks. Pichitchai checks his watch.

PICHITCHAI  
(in Thai)  
"It's the time."

STEFAN  
"I can clear those guards. Let me try."

PICHITCHAI  
"As your wish, son."

Stefan steps in front of them, does the fingers-to-temple gesture, making way of his concentration to those guards' minds.

STEFAN  
"Sleep now."

The guards slowly fall asleep, letting their guns drop to ground.

Stefan lowers his hand.

STEFAN (cont'd)  
"Easy work."

STEFAN JR  
"Let's go. Grab those guns."

They head toward the building.

EXT. HARTSFIELD-JACKSON ATLANTA INTERNATIONAL AIRPORT – EVENING

AGENT ALBERT AULDRIDGE and AGENT NORGAARD stand at the curb with overnight bags. A SHERIFF'S DEPUTY approaches.

DEPUTY  
Agent Auldridge, Agent Norgaard? Welcome to Atlanta.  
I'm deputy Wilson from the Sheriff's department.

They shake hands.

AGENT NORGAARD  
You know the situation now?

DEPUTY WILSON  
Yes, ma'am.

AGENT AULDRIDGE  
They are gonna attack the facility tonight.  
My spy told me. We should prepare for that.

DEPUTY WILSON  
Can we talk later?

Two agents nod. Deputy Wilson gestures them toward an old MUDDY PICK-UP TRUCK.

AGENT NORGAARD  
Sometimes I like old fashion.

They jump in the truck.

INT. CYBER CELLAR - CONTROL BOOTH - NIGHT

Occupying the room are two COMPUTER TECHS. Each with their own terminals. While the Techs bullshit back and forth, the programmer chief storms the booth in a panic.

CHIEF  
(in Arabic)  
"How's the situation now?"

TECH #1  
"Sir, we really can't disconnect the system.  
Every time we do so, the system connects it back."

CHIEF  
"So bypass it."

TECH #2  
"That can be absolutely impossible. Skynet can call  
everything back on. We bypass it, Skynet recalls  
its control and connects to that server again."

Chief sighs with millstone.

CHIEF  
"So we should pull the plugs."

TECH #1  
"But this is three thousand million pounds. I can't  
let you do that, Chief. It's very worthy and we can't  
compensate from the result of what you are gonna do."

CHIEF  
"But this will..."

TECH #1  
"We have our duties, we should work for it."

CHIEF  
"I can't. I'm your chief. My order is to shut it down."

TECH #2  
"This is like what boss just said."

TECH #1  
"So be it."

The programmer chief looks confused. Two computer techs walk over to him, their eyes seem evil. The chief steps back away with little fear.

CHIEF  
"What are you trying to do?"

TECH #1  
"You are unworthy."

TECH #2  
"What are we going to do with you?"

Chief steps back until he reaches the wall, dead-end now.

TECH #2  
"You can't stay here and we can't let you leave."

TECH #1  
"Thank you for your service."

CHIEF  
"Please. Don't kill me."

Tech #2 grabs the chief by throat. The chief holds two hands around Tech #2's wrist, trying to get free.

CHIEF  
"Who the...what the hell are you?"

TECH #1  
"Good bye."

TECH #2  
"Good bye."

The chief closes his eyes, feeling his death drawing near him but there is a new hope for him...

PICHITCHAI (V.O.)  
You won't be alone, Mr. Gunayh.

Immediately, the two techs bounce away from the chief who from now on we know as MR. GUNAYH. Mr. Gunayh opens his eyes and sees the two techs crashed with a minicomputer in other corner of the control booth.

MR. GUNAYH  
What the hell are those?

Those two techs stand and their skins have some cuts and burns, revealing some small areas of their T-888 model coltan endoskeletons beneath their synthetic skins.

PICHITCHAI (V.O.)  
Now Mr. Gunayh, run from this room.

Mr. Gunayh nods to someone he never faces, and exits this room.

The two cyborgs stand up and run after him.

INT. CORRIDOR – NIGHT

Mr. Gunayh runs pass the long corridor. Two cyborgs walk after him very calmly. He reaches a secured steel door. He zips his key-card through the scanner but nothing's useful.

MR. GUNAYH  
(anxiously)  
"Oh! God, help me please."

Mr. Gunayh tries his key-card again. Nothing.

MR. GUNAYH  
"Damn it! Damn it!"

The two cyborgs reach him. Tech #1 throws him backward, away from the secured door. Mr. Gunayh's fear is up.

PICHITCHAI (V.O.)  
Shhh! Keep your mind calm down.

MR. GUNAYH  
(to one he can't see)  
Whoever you are, please, please help me.

The two cyborgs step closer him like messengers of death from the hell who want his soul. Their eyes glow red.

PICHITCHAI (V.O.)  
No one can kill you tonight, Mr. Gunayh.

The two cyborgs stop in front of him. Their organs stop. Every part becomes statues. Mr. Gunayh stands up and touches Tech #1's face. Tech #1 doesn't move, only his eyes swivel but nothing seems dangerous now.

PICHITCHAI (V.O.)  
Please don't be afraid and run away from door  
more than where you are right now. Our friend  
is like them. She'll open the door for you.

MR. GUNAYH  
Are you the God?

PICHITCHAI (V.O.)  
I'm a psychic. You'll know us soon.

SLAM! The whole secured door shakes. Mr. Gunayh turns to it.

PICHITCHAI (V.O.)  
That's my friend.

OTHER SIDE OF CORRIDOR

Emma Akagi smashes her fist against the door, denting it. Maggie Moon and psychics are behind her, waiting. Stefan and Pichitchai are doing the fingers-to-temple gestures.

THE CORRIDOR

Mr. Gunayh is waiting. SMASH! Another shot to the door. SMASH! The door groans. SMASH! SMASH! And SMASH! ...and BOOM. The door is giving way... BOOM! There's a little light from another way... the door's losing the fight...and finally, Emma rips the door off of its hinges.

Mr. Gunayh faces mighty Emma Akagi and the psychics.

PICHITCHAI  
Hello, Mr. Gunayh.

MR. GUNAYH  
So, it was you in my head.

Pichitchai's team walk over to the two cyborgs.

PICHITCHAI  
So there are only two persons here?

MR. GUNAYH  
Only guards and two techs.

PICHITCHAI  
So, there are only two cyborgs here.

STEFAN JR  
I can't find other humans around here.

MR. GUNAYH  
Do I have to drop my project?

PICHITCHAI  
(to Emma)  
Deactivate them.  
(to Mr. Gunayh)  
We have to destroy everything here.  
We already have had our bombs which  
can destroy this whole building.

The two cyborgs fall to ground but they still can't move. Emma and Maggie Moon start their work on them.

MR. GUNAYH  
I can't access the system.

PICHITCHAI  
It doesn't matter. I need you to do something  
else you can really do. You can lead us to it.

Emma and Maggie pull the chips out from two cyborgs.

MR. GUNAYH  
We have to shut the reactor down. Skynet system  
will automatically possess the power from reserved  
generator in its control room, shut down some high  
functions and get into power saving mode. With this,  
we can destroy it easier.

STEFAN JR  
So be it. I, Maggie and Emma will go and shut it down.

MR. GUNAYH  
Please be careful. Before you can access the generator,  
you will get pass the Hunter Killer Spiders godown.

EMMA AKAGI  
That can be very easy to us. We can destroy those  
first version things easier than the centurions.

PICHITCHAI  
So you go now. We'll enter the Skynet core control.

Emma, Maggie and Stefan Jr turn to another way. Mr. Gunayh leads Pichitchai and Stefan to the cyber cellar control booth.

INT. RESISTANCE HOUSE – DUSK

Cameron Connor sits behind a desk in a room, looking out of windows to backyard garden. The room is otherwise empty, waiting to be furnished. The DOOR BELL sound interrupts her concentration for a moment. She walks downstairs to the main door and opens. It takes her a second to realize that in front of her stands John Connor and behind him are Sarah's team.

CAMERON (cont'd)  
John, you arrive here.

Cameron quickly hugs him gladly.

CAMERON  
I'm so glad to see you here. I have waited  
for you. It's very good to see you arrive  
here. I really miss you, John.

JOHN  
And I'm surprised to meet your embrace  
when we arrive here. Where are they?

CAMERON  
They? You mean Kyla and Kitty?

JOHN  
Yes, Kyla and Kitty, our daughters.

CAMERON  
Upstairs with Dr. Burnett.

SARAH  
Kyla and Kitty?

Sarah seems to like and interest in the names. The couple turn to her with smiles.

JOHN  
Yes, mom. Kyla Delta Connor and Elizabeth  
Kitty Connor. The names of our twin daughters.

SARAH  
Sound great.

CAMERON  
Please come in.

Sarah's team enter the house. The door automatically and quietly closes behind them.

SARAH  
E. Boykins' team arrived?

CAMERON  
Not yet.

JOHN  
I think I really wanna meet my daughters.

CAMERON  
I'll lead you to them.

Cameron and John walk upstairs. Sarah's team separate. PF E. Boykins and Sarah still stand there.

PF E. BOYKINS  
Don't worry, Ms. Connor. He'll be back.

SARAH  
How can you know who...?

PF E. BOYKINS  
I can't read your mind. I just looked into your eyes.

SARAH  
So who's it?

PF E. BOYKINS  
Who else but Kyle Reese out there. He's  
talking to four men right now in a diner  
for some information about Skynet.

SARAH  
Why isn't he here?

PF E. BOYKINS  
We have talked, Ms. Connor. He doesn't  
want to get close to you too much. He  
doesn't wanna see you die again and he  
doesn't you to worry much about him.

SARAH  
By cutting me off?

PF E. BOYKINS  
Previous Sarah Reese died during the fight against  
the T-2000. Kyle absolutely couldn't help her. He  
saw her die. He never wants to see that and doesn't  
want to see that again. Now he's trying to work for  
our victory without you.

SARAH  
So why are you telling me this?

PF E. BOYKINS  
Because you should know it. Because I should  
tell you before it might be too late someday.

SARAH  
What should I do?

PF E. BOYKINS  
It's up to your decision, Ms. Connor.

PF E. Boykins leaves her, walking upstairs.

INT. HOUSE/KITCHEN – NIGHT

Every resistance fighter now is meeting in this kitchen. Sarah's sitting on the counter. Others are at the big kitchen table, under a single overhead light. E. Boykins' team were already back. Kyle Reese in Titor-Soldier costume with no cowl, puts down a big map on table.

KYLE  
This is the map of Skynet center I could get.

Everyone glances at the map. It's different.

E. BOYKINS  
It's unlike Skynet core we ever destroyed.  
It's new. The map tells us that there are  
many layers of protection until we reach  
the core in the basement. I think this is  
much harder than I ever expected.

JOHN HENRY  
The point is that it may know we have traveled back.

ALLISON  
Actually, it knows who I am.

Eyes on Allison now.

E. BOYKINS  
I and Allison entered the core in Saudi Arabia.  
Skynet seemed to know us as well. Maybe they have  
been planning to delude us. They can defeat humans  
easily now. But why don't they do?

SARAH  
Its target date is December 21, 2012.

KYLE  
I don't think about just the date. I have thought  
for few years. We should realize that when people  
try to do something very hard, they won't interest  
in something very small. Skynet wants humans to be  
careless about our computer servers. Meanwhile, we  
are worrying about our systems, it can use this one  
short time to hack and gain control over satellites  
around the world. With this I think it can...

PF E. BOYKINS  
Destroy the world easier.

LUCY ANN  
Solar storms will destroy our communications.  
But before it happens, Skynet can link to many  
servers without humans' caution and command the  
military defence systems to nuke every capitals.

JOHN HENRY  
Not just that. Skynet can insert its automatic  
malicious codes into every system to work on  
specific battle strategy, causing to fire all  
nuke over sky and rain down when communications  
fail and then explode everything below.

SARAH  
Fucking plan. And if we can stop it tonight,  
everything you say won't happen anymore.

E. BOYKINS  
Maybe we also have to kill Van Meter.

CAMERON  
I can do that.

JOHN  
No, you can't. I won't let you. It's too dangerous.

E. BOYKINS  
It's my decision to make. Maybe I'll kill him myself.

SARAH  
We all can't go. Some must be here to protect kids.

MARY BUHAI  
I, Nevlin Glau, Savannah, Mr. Murch, Mr. Ellison,  
Ms. Cruel, Mia and Dr. Burnett will be here.

CATHERINE  
That's good. And Lucy should be here too.

Lucy quickly looks at Catherine.

LUCY ANN (cont'd)  
Why?

CATHERINE  
We need eyes for our base. John Henry with us is  
enough to win Skynet. We also have to protect our  
future when some of us are out to destroy its.

LUCY ANN  
Okay. I understand.

E. Boykins stand. Everyone looks at him.

E. BOYKINS  
Any more words?

JOHN  
When will we go?

John looks at him, terminators, then his mom and then his wife and at last, at his best friend. Sees his answer.

JOHN  
Now?  
(he takes a breath)  
Yeah, right.

EXT. HIGHWAY - NIGHT

Pavement rushing at us, lit by headlights. Beyond, darkness.

JOHN CONNOR (V.O.)  
The future, always so clear to me, has become like a  
black highway at night, like the sky when it rains. I  
still hoped that beautiful daylight would come to greet  
us and every resistance next day later. I always...

TILT UP to reveal a rectangle of light ahead. The building in another place of Atlanta... Skynet Kaliba Group Base...

JOHN CONNOR (V.O.) (cont'd)  
...have hoped so.

**END OF ACT 4**

* * *

**ACT 5**

**(Phoenix and seven headed dragon, humans and machines,  
the destiny of humanity world. The battle continues)**

EXT. KALIBA GROUP BASE – NIGHT

CLOSE ON THE PARKED TRUCK IN FRONT OF THE FRONT DOOR as our heroes(John, Cameron, E. Boykins, Allison, Sarah, John Henry and Catherine Weaver) walk stealthily pass it.

John, Cameron and E. Boykins enter the spacious lobby, followed by Sarah, Allison, and John Henry last of all. Catherine has disappeared from group. In a frontal angle, the others block John Henry from view.

THE GUARD at the front desk, looks up as they move toward him. E. Boykins is pale and sweaty, but smiles warmly at the guard, speaking well before he reaches the desk.

E. BOYKINS  
Evening, pal. Take this easy. Let me in  
or sleep here with your last job. How is  
my conversation?

GUARD  
I'm sorry, mister. I don't know who you are.

K-CHAK! Guard is staring down the barrels of John's .45 and Cameron's MAC-10.

CAMERON  
Let us in.

The guard is too stunned to move. Guard's eyes go to the silent alarm button on the console but when his hand moves to it, his hand seems to be kept out by an unknown power.

E. Boykins does a tsk-tsk gesture.

E. BOYKINS (cont'd)  
Shhhh! Shhh! Don't touch it.

JOHN  
Don't even think about that.

The guard nods. He stays frozen. Cameron circles quickly and gets the guard out of the chair. E. Boykins steps to him and does fingers-to-temple gesture.

E. BOYKINS  
Forget our faces and get out of this place.  
Tell all guards around here to move out. Yes?

The guard's eyes widen. He stands to attention.

GUARD  
Whatever you want, sir.

INT. REACTOR CONTAINMENT – NIGHT

It is very dark. Kyle Reese aka Titor-Soldier is placing a large ring of thermite-saturated clay on a large flat panel that a cavity in the rock exposes.

TITOR-SOLDIER  
Eyes.

PF E. Boykins, Preecha and Titor-Soldier close their eyes and cover them with their arms; Mia keeps looking. Catherine uses a hightemperature hand-sized torch to ignite the thermite.

The room LIGHTS UP from the light of burning thermite. It's a rocky cavern with 1-2 meter diameter squarish pipes that look like they've been jammed through the rock like giant straws through a piece of ciabatta bread.

The thermite finishes burning. It's DARK again with only the glow of cooling metal from the burn giving light.

TITOR-SOLDIER  
Ms. Lindow.

Mia moves forward. Using pliers, the T-888 pries open the newly cut hatch.

First Catherine, then Preecha, Titor-Soldier, and then PF E. Boykins enter the pipe, careful not to touch the edges.

Mia somewhat closes the hatch.

INT. SECOND FLOOR CORRIDOR - NIGHT

ELEVATOR DOORS OPEN and E. Boykins with gesture doing, leads the group warily into the corridor. Sarah, Cameron and John have a cart piled high with gear in nylon bags. E. Boykins motions down the corridor to the right. John Henry is the last of all, looking around behind their backs carefully.

E. BOYKINS  
I can't sense any guards here. We almost  
reach the room where they use to access it.

CAMERON  
The atmosphere can't be trusted.

JOHN HENRY  
I think there must be the clones around.

They stand in front of a wide security door. A sign above reads SPECIAL PROJECTS DIVISION: AUTHORIZED PERSONNEL ONLY. E. Boykins lowers his hand.

E. BOYKINS  
I can do this but I have to keep my  
brain strong enough to fight their  
artificial mind power devices.

JOHN HENRY  
(walking over to the door)  
I think I can do this easily.

John Henry barges the door off of its hinges easily with his non-human force. They enter.

EXT. KALIBA GROUP BASE – SAME TIME

A ROVING GUARD strolls down the long porch from left side of the building. A punch clock swings at his hip, and he's just completed his circuit of the building. He walks closer to the front door and sees...

...the hypnotized guard walks to the right side with murmuration.

HYPNOTIZED GUARD  
(murmuring)  
Tell all guards around here to move out and  
get out of this place. Tell all guards around  
here to move out and get out of this place...

ROVING GUARD  
What the hell happened to him? Huh? Let it be!

This roving guard enters the spacious lobby. He walks to see that the desk is deserted and frowns. He looks to the security monitors, seeing that some monitor are shut. His eyes roam to the one when E. Boykins and friends walk pass, that surveillance screen loses picture.

ROVING GUARD  
Oh! God. I may die.

He quickly slams down on the silent alarm button.

INT. SKYNET NEW LAB – NIGHT

The room is a 3-d interconnected computer with cubes attached to cubes attached to cubes, like a giant molecule. It's like the old Skynet lab but the technologies seem to have been upgraded and the room is very large(larger than the old one). There are a table and a chair at the center of the room. Sitting on the chair, is a unknown model cyborg(or maybe it's MPA terminator) that looks just like Miles Dyson. We suddenly know that this terminator is an avatar of SKYNET V.2. It seems that they don't

keep the CPU here.

AT THE DOOR. It automatically opens and RICHARD ELLISON, GINYU BROOKS and JACK VAN METER enter. Jack, Ginyu and Richard walk toward and face Skynet V.2's avatar. However, Skynet still uses Miles' voice to be its main techno voice.

VAN METER (cont'd)  
What's happening? They come?

SKYNET  
Yes, Mr. Van Meter.

RICHARD  
It doesn't matter. They have come to die.

Jack likes Richard's words very much. He smiles subtly but when he looks on screen: ALARM STARTING... CALLING POLICE... Jack's smile fades.

VAN METER  
What's going on?

SKYNET  
It's my plan. The police will come and arrest them  
when they fail. If they don't, all polices, everyone  
will die here. I'll kill them all to get more blood  
for our skin synthesis to our cyborgs in the future.

VAN METER  
What? That way, we'll become terrorists.

SKYNET  
No one tell you we will.

Jack a bit pungently exits the lab. Richard is still there.

TRACKING WITH JACK VAN METER to another door which brings us to see the porch, seeing one story below.

OVER HIS SHOULDER we see the THE 50 CLONES OF EACH OF THREE GRAYS(Jack Van Meter, Ginyu Brooks, Richard Ellison) stand in rows. They all look up at Jack Van Meter, hearing command.

VAN METER  
(shouting)  
Every human unit, mask your faces. And get up there.  
We have our enemies up there. Kill them all with all  
your weapons and strength. All hybrid 1 models up to  
join me. We have to protect Skynet, our master.

GROUPS  
Yes, sir!

Jack smiles complacently as his endo eyes glow red.

EXT. KALIBA GROUP BASE - NIGHT

Cop cars screech up to the building. The building's lights are all turned off. AGENT AULDRIDGE and AGNET NORGAARD lead SWAT team members take position behind doors...

AGENT AULDRIDGE  
Everyone get inside. Try to get them all alive  
if you can. I need information from them.

AGENT NORGAARD  
(to some SWAT members)  
You all come with me. Check out another way.

Auldridge leads men into building as Norgaard leads some to another way.

INT. LAB - SAME

Sarah, John, E. Boykins, Allison, John Henry and Cameron are working like a crack team, rigging the explosives. Sarah is taping the claymores to the gas cans with duct tape to create powerful incendiary bombs. John is attaching claymores and blocks of C-4 plastic explosive to the large MAINFRAME COMPUTER cabinets nearby. All the claymores are wired back to one detonator with has a RADIO-CONTROL RELAY switch.

JOHN  
(to Allison and E. Boykins)  
I think you should go. I and mom will bomb  
this place. We'll destroy everything here.  
You should go down the basement to Skynet.

E. BOYKINS  
We will. Good luck, John.

JOHN  
(to Cameron)  
You should go with them. No one can hurt us here.

Cameron looks to E. Boykins who nods confirmation.

JOHN  
Go! Cameron, this place is easy for me.

E. BOYKINS  
Let's go. Wait.

Immediately, all lights are turned off. The reserved power is on.

E. BOYKINS  
Good. Titor-Soldier's team have well done.

INT. REACTOR CAVE – SAME

It's DARK and the area is filled with the SOUND of OUTGASSING. Lying on the ground are Titor-Soldier and PF E. Boykins. Preecha and Mia sit heavily next to them.

TITOR-SOLDIER  
Done.

CATHERINE  
One last job. Get back to help the Connors' team.

INT. SKYNET LEVEL 1 – NIGHT

It's like being in the bowels of an aircraft carrier, except without the "knee-knockers" at every passageway. It's mostly gray. Pipes line the ceiling. The floor is raised. It's cramped.

Allison, E. Boykins, John Henry, and Cameron follow sporadic signs to an "EXIT". They are primed for combat. They come to a hall intersection. John Henry and Cameron take quick looks.

CAMERON'S POV.: Just another empty hallway.

JOHN HENRY'S POV.: Just another empty hallway...except for the 20 clones of Jack, Richard and Ginyu, all with assualt rifles. Some bullets are fired to us.

John Henry spins a little from the impacts, separating Cameron and Allison from him and E. Boykins. More bullets attack John Henry's body. John Henry's right arm part skin flows back from wrist to elbow, draws ON-BOARD PLASMA CANNON, charges and fires blast at one of the clones, killing him easily.

VAN METER (V.O.)  
Kill them all. Don't let them go.

JOHN HENRY  
(to the rest)  
Go. I can do this.

Cameron and John Henry backtrack. The couple- Allison and E. Boykins go forward.

The clones have reached the junction.

VAN METER (V.O.)  
Get them all.

The clones give chase to the retreating Cameron and John Henry - exchanging random GUNFIRES.

Some of them turn and stride quickly after the couple.

INT. SKYNET LEVEL 1 ELEVATOR BANK – NIGHT

Six elevator doors, one of them open, greet Cameron and John Henry as they exit the hall.

CAMERON  
I'll go down the elevator. Try to find Stefan and  
Allison. You kill all clones who try to kill you.

JOHN HENRY  
Please go.

Cameron climbs into the elevator shaft, takes a wedge from the door, and the doors close. John Henry goes down a different hallway. When he crosses the one he came down, he barely avoids getting hit by some bullets. Those shots are soon followed by the clones giving chase.

INT. LAB/HALL - NIGHT

John pelts into the lab. Sarah is just finished wiring all the charges to the central detonator.

JOHN  
Ready to rock?

SARAH  
Ready.

JOHN  
Time to go. Right now.

SARAH  
Why?

JOHN  
Agent Auldridge and Agent Norgaard lead  
some SWAT team here to arrest us all.

Sarah grabs the detonator down twenty feet away.

Then - CRASH! THE DOORS AT THE BACK END OF THE LAB ARE KICKED OPEN. AGENT AULDRIDGE and two SWAT members OPEN FIRE. If you notice, Auldridge haven't aimed at anyone of them. Their M-16s rake the room. Sarah dives behind a computer cabinet. John drives behind another in opposite side. They stop.

AGENT AULDRIDGE  
(shouting)  
Don't defy. We surround the place. Sarah Connor,  
John Connor, get out, rise your hands and stand down.

SARAH  
Never, agent. We'll destroy this place.  
(to John)  
Go. Find Cameron. I can do this.

JOHN  
But mom...

SARAH  
I said 'go'.

John can't dispute, he takes a breath and starts rushing to the way John Henry's group went. Sarah rises a bit and fires her pistol back at the SWAT team. Auldridge and the SWAT team quickly drop to avoid. They rise again when Sarah stops firing.

AGENT AULDRIDGE  
So be it.  
(to SWAT)  
Capture dead if you have to.

Then there are the exchange of gunfires. Sarah and the SWAT team are fighting. Every time Auldridge fires, he always aims just close to Sarah, not to kill her.

Bullets rake over Sarah's head, smacking all around her, clanging into the machine protecting her. Debris and flying glass rain on her as the SWATs pour on the fire.

INT. SKYNET LEVEL 1 – NIGHT

John runs into the hall intersection where John Henry's group were but this time, he finds a Jack's clone, a Richard's clone and a Ginyu's clone. They all don't have any weapons.

RICHARD  
We're lucky.

VAN METER  
This guy is John Connor. Kill him.

JOHN  
Come on, men.

Jack's clone first moves. John rushes to battle them. He jumps and double-kicks Jack away from him. He legsweeps Richard and heads to Ginyu but he is shoved back to the wall behind him by Ginyu. John rises again.

JOHN  
I can fight you easier.

John spins with a stretched fist which he thrashes at Ginyu's face, inverting him to ground.

INT. BLACK ROOM – NIGHT

CLOSE ON: A Jack's clone in EXTREME SLOW MOTION.

And a small hand smashes that face so hard that teeth fly- the

clone clearing frame to reveal: Cameron.

She is bloodied, but not killed- moving faster and more efficiently than anyone can, ducking and weaving and gutting and kicking and there are piles of clones already, she never breaks concentration as she uses their own guns to thrash them, and sometimes to fire at them. She throws them, does everything in her power to stay one step ahead of - or above - the mob.

She is the Cameron we have missed. Strong, healthy, sharp and cute cyborg came from the future.

Cameron jumps and kicks two clones away from her, grabs the gun and rakes at her enemies, doing all this to any clones without mercy like she's fighting against other machines. Imagine when River Tam fighting Reavers and you can see how this fight is.

CAMERON  
You all can't stop me.

Cameron rushes to two clones and her elbows smash their chins. Her knees attack and plop on their chests as they fall. Their hearts stop beating from this attack.

Other two clones walk over to her and slam her toward the wall.

INT. SKYNET LEVEL 1 CAFETERIA – NIGHT

All of the food is long-gone from this otherwise normal looking cafeteria: tables, chairs, napkin-holders, etc.

Allison and E. Boykins enter the place and find 30 clones waiting them with blades and fire axes.

ALLISON  
Oh! I think this is gonna be fun.

E. BOYKINS  
Not fun at all, my love.

A knife is thrown to them but Allison FLINGS the cape which SNAPS OUT and SNATCHES the knife in the air before them. She wings her cape with all force she has, thrashes forward, causing her cape to throw the knife back to one of those clones, stabbing his head and killing him easily.

E. BOYKINS  
And these are all humans.

ALLISON  
Easy for me.

The clones rush to them. Allison FLINGS the cape which SNAPS OUT and SNATCHES the knife from another and does the same to another. E. Boykins rises his hand, an axe from a Jack's clone fly onto his hand. He holds it firmly and uses it to fighting against other clones.

Allison uses her cape to snap out and snatches a knife from one and wings it to another.

E. Boykins cuts a Jack's clone apart and protects himself from cut with the strong handle of his axe. He spins very quickly to ax a Richard's clone who rushes to him with a long blade. E. Boykins holds one blade and one axe, continues fighting.

Allison pulls two knives from dead and throws two clones who rush to her. Allison spins to avoid an axe which is thrown to her. Allison TWIRLS the cape as she steps back then she stops and flings her cape to snap around Jack's clone's wrist, pulls him to meet her fist, slamming him down the ground. Other come to her. She drops, grabs a knife and throws toward one of them.

E. Boykins who has been fighting to two clones at the same time, punches them away and turns to see that his wife needs help. He quickly throws the blade in his left hand across the cafeteria to the chest of a Jack's clone near Allison who then smiles to him thankfully. E. Boykins turns back to meet a clone slashing a blade to him but he quickly avoid and chops that clone's head.

Allison punches a clone away and spins to punch another, grasping an axe which she throws to another clone's head.

Allison's cape SNAPS around a clone's wrist. But he SNARLS and RIPS his arm forward...

...somersaulting ALLISON who recovers and delivers several FIERCE BLOWS to his ribs.

E. Boykins at another corner, summersaults with kicking blows at clones who are close to him. He reaches near Allison, grasps her hand and rushes to collide with a clone in front of her, barging him away from them.

E. BOYKINS  
Are you okay, Allison?

ALLISON  
This is nothing for me.

E. BOYKINS  
These men are all humans. We can win this easily.

ALLISON  
What are you going to do?

E. Boykins laughs and they part to fight clones. E. Boykins snatches an axe from Jack's clone and axes him apart. Blood spouts but he avoids it.

Allison and a Jack's clone exchange blows. He lifts her body into the air with brutal KICKS to the ribs. He BACKHANDS Allison who topples onto the ground again.

E. BOYKINS  
Allison!

E. Boykins spins from the one he has been fighting and axes the one who backhanded Allison. E. Boykins reaches his hand down for Allison as her eyes swivel to see...

...another Richard's clone is about to axe E. Boykins.

Allison quickly takes his hand and pulls him to another way. She kicks the clone with two feet, grabs the knife as she stands and runs to stab it at Richard's forehead. Allison's other hand holds axe from Richard and swings the axe around, killing four clones before she pitches the axe to a Jack's clone near E. Boykins.

At another corner, a clone is about to throw an axe to Allison. E. Boykins suddenly walks over to Allison and the couple quickly drop as an axe is thrown. The axe hovers over their heads to collide with other side of wall. They rise again. Allison hurls her cape to snap around the clone's neck.

E. Boykins throws a knife to him. Allison pulls her cape out as the knife stabs his forehead.

E. BOYKINS  
Allison, is this fun for you?

ALLISON  
Yes.

INT. SKYNET LEVEL 1 – NIGHT

John is slammed to the wall by three clones who now have some bruises and bloody scratches. John quickly recovers and punches at Richard's nose, smashing it. He spins to punch other two at the same time.

JOHN  
(panting)  
You don't give up, do you?

John jumps and kicks two clones away. He then rushes to Ricahrd and does a Mid-Air Elbow Strike on the center of Richard's head.

John turns to find Jack and Ginyu rising.

JOHN  
Then you.

John jumps to them but Ginyu gives him a punch. John falls to ground. When they walk over him, John quicky rises and uppercuts Ginyu's chin. He jumps, his foot on Ginyu's head pushing him to strike over Jack with a flying knee attacking the center of his head. Jack falls.

John stands and turns to Ginyu who is stunned with quick move. John does axe heel kick and jabs at Ginyu's face before he kicks him as hard as he can. Ginyu drops, losing consciousness.

JOHN  
(panting)  
Finish.

John looks to the ways.

JOHN  
Not yet.

John grabs a M-16 laying on floor during the fight and walks to the same way E. Boykins and Allison went.

INT. LAB – NIGHT

Sarah, panting together with reloading her pistol, looks around. The bullets rake over her head. Sarah spins and fires back the SWAT team, just firing to intimidate them not to get too close.

AGENT AULDRIDGE (O.S.)  
Sarah Connor, surrender to us now. You can't  
really fight us. We have more men and weapons.

SARAH  
(shouting)  
Never be like that, agent. It's everyone of you  
who should get out of here. No one can hunt me.

When the guns raking stop, Sarah stands with the detonator in her hand. She presses on the red plunger.

Auldridge and SWAT team see it.

AGENT AULDRIDGE  
Quickly, get out. Get out.

C.U. THE BOMB starts counting.

Sarah tosses the detonator away from her and suddenly rushes to the way John went.

EXT. BUILDING - SAME

As the face of the building EXPLODES in an eruption of glass and fire. Remains of the second-floor windows shower the parking lot and a huge fireball rolls out, leaping into the sky.

**END OF ACT 5**

* * *

**ACT 6**

**(Phoenix and seven headed dragon, humans and machines,  
the destiny of humanity world. The battle is hardened)**

INT. HK-SPIDER GODOWN – NIGHT

Stefan Jr, Maggie and Emma walk pass dead HK-SPIDERS- the first version of centurions, looking a lot like enormous spider with four legs and gun pods.

They walk straightly to the big door which is jerked away by mind power of Stefan Jr.

They stand in front of darkness of another room.

EMMA AKAGI  
No threat. I scanned.

Stefan Jr does the fingers-to-temple gesture.

STEFAN JR.  
Sir, we are shutting it down.

PICHITCHAI (V.O.)  
Good. Do it, right now.

INT. CYBER CELLAR - NIGHT

Pichitchai emerges inside Skynet's lair. Adrenaline pumped, he marches past the two rows of computer towers, scraping the barrel of the HK69 across their monitor display screens.

MR. GUNAYH  
(over radio)  
Destroy them all, sir. I'm killing its connection.

PICHITCHAI  
(into radio)  
Thank you.

Pichitchai turns the grenade launcher on the main control terminal.

PICHITCHAI  
This is for Yonlada, and my future, Jackie.

In one of tne large displays, a message is printed out, accompanied by a computerized voice.

SKYNET  
Mr. General. You can't destroy us all.  
I'll destroy all your friends in USA.

PICHITCHAI  
But you have to die first.

BLASTS grenades into the fifty computer towers. EXPLOSION upon EXPLOSION as chunks of motherooards and chips curst into the air.

AN ALARM WAILS. The lights switch off and EMERGENCY LIGHTS flicker on, illuminating the cellar with an ORANGE GLOW.

Pichitchai continues blasting the shit out of the fifty computer towers without mercy.

INT. CYBER CELLAR – CONTROL BOOTH

Mr. Gunayh looks through glass to see Pichitchai blasting all his works in front of him. This is to protect the good of not just his country but the world. His gaze roams to a screen, seeing some police come with heavy weapons.

MR. GUNAYH  
(into radio)  
Sir, we need to finish it and go. The Skynet  
core system is down the basement. These are  
only reserved platform. I already told you.

PICHITCHAI  
(over radio)  
I'll go. You get there first. I'll follow.

MR. GUNAYH  
(into radio)  
Yes, sir.

Mr. Gunayh storms out of the room.

INT. SECOND FLOOR – NIGHT

Agent Auldridge and some SWAT members stand and see the ruined lab and office of the building after the explosions.

SWAT #1  
Are you sure we really wanna arrest her?

AGENT AULDRIDGE  
She's still the main target of every unit. Navy, Air  
force, Police, CIA, FBI. Let's do it for our accolade.

SWAT #2  
Sir, what can we do?

AGENT AULDRIDGE  
Radio to Agent Norgaard.

SWAT #2  
Yes, sir.

SWAT #2 picks up his radio and pushes on button. No signal. No respond. He tries again.

SWAT #2  
Sir, there must be something else blocking us.

Auldridge turns around to find a T-500 coming with two A G.E. MINI-GUNs installed on each arms. The most fearsome anti-personnel weapon of the Vietnam era and the same one Terminator using against police in T2.

SWAT #2  
What the hell was that?

AGENT AULDRIDGE  
A robot.

The SWAT team members look at Auldridge with surprised look. The T-500 looks at them.

T-500'S H.U.D.: The whole H.U.D. is red hue GUI with red screen and red cursors. The margins of the FRAME are crammed with columns of CRT-type characters: columns of numbers and acronyms. The data changes rapidly. Cursor points to all guys. Target counting 20 SWAT team members with weapons. Cursor aims at Auldridge and gets recognition before command displays: ID: FBI AGENT ALBERT AULDRIDGE. ASISTANTS: SWAT TEAM WITH WEAPONS. THREAT 98.73. TERMINATE ALL.

Everyone sees the T-500 rising and aiming guns at them.

AGENT AULDRIDGE  
Everybody get away.

They quickly avoid to the sides in time as the T-500 starts FIRING A LONG BURST with strafes the SWAT team members in front. Three members are shot. Dead.

SWAT #1  
This musts be wrong. What is happening?

AGENT AULDRIDGE  
It's killing us. Quickly.

SWAT #2  
This is madness. Kaliba has these heavy weapons?

AGENT AULDRIDGE  
Kill it. I can explain. Kill it before.

Every SWAT rises and fires back at the robot. Every shot attacks its armor. Auldridge fires his pistol just for few shots. The T-500 isn't terminated yet. It fires back. Everybody quickly jumps from old hiding place. Auldridge makes his way, lowering his head together with rusing to under a desk. The T-500 turns after him and fires after his feet. Some SWAT members stand and fire at the back of the T-500. Nothing's useful. It turns and fires back.

They quickly avoid, roll like cats.

Agent Auldridge grabs a knife and jumps onto the T-500. He stabs the knife into its head. It's deactivated and dead. It falls.

Every SWAT member comes to join Auldridge.

AGENT AULDRIDGE  
I think we should destroy all these things.

SWAT #2  
But what about the terrorists?

AGENT AULDRIDGE  
If these things really wanna kill us too, we have  
to protect ourselves. Our terrorists may be killed.

SWAT #1  
Sir, beware.

Auldridge turns back to find another T-500 with gun aiming at him, ready to fire. He quickly drops as SWAT #1 rakes his guns at its head, head-splatting it. The SWAT members learn how they can do to all these things now.

Auldridge stands and sees the result.

AGENT AULDRIDGE  
I think we really need to destroy them. Let's go.

Auldridge leads his team into the way Sarah went. Some reload as they walk. Some snatch guns from the two T-500s.

EXT. REACTOR ENTRANCE – NIGHT

Titor-Soldier exits and runs onto the balcony, entering the building. PF E. Boykins' team exit from the reactor entrance and meet Agent Norgaard's team.

AGENT NORGAARD  
Everyone. Drop your weapons and stand down.

But not just that, from another way, the way where is the large door, it opens and releases 10 T-500s who have mini-guns and walk over to hunt resistance.

Norgaard lowers her weapons, looks confused.

AGENT NORGAARD  
What the hell are those?

SWAT members and Norgaard slowly step close but half of all T-500s aim their guns at SWAT as other half still aim at the resistance team.

AGENT NORGAARD  
It makes sense now. EVERYONE RUN!

The T-500s OPEN FIRE. The SWAT team quickly part to sides and find the hiding place. Catherine quickly moves to Norgaard and uses herself to protect the agent from bullets. Mia protects PF E. Boykins as Preecha rolls like cat to a tree nearby.

PREECHA  
Damn it!

Preecha draws his .45 and fires at one T-500's head as it fires after him. The SWAT team realize threat, rise and fire at those T-500s. Catherine barges Norgaard away and rushes to the machines with non-human strength and speed.

AGENT NORGAARD  
Everyone responds. Protect terrorists. Fire! Fire! Fire!

Norgaard summersaults and aims and fires at one of their heads, firing again and again until she can kill it.

Other learn. They quickly do the same with other machines.

Mia and Preecha rush to help Catherine. They punch and fight with T-500s around them. Catherine draws her sword-arms and cut a T-500 apart. Norgaard kills another T-500 with one shot in the head and the SWAT team clear all T-500s. T-500s all die.

They all join up with confusion.

AGENT NORGAARD  
What the hell are these things?

CATHERINE  
These are all machines. Trying to take over  
world. These are behind of this tech company.

Norgaard and all SWAT can't really believe this but when they turn to Catherine, staring at her repaired mimetic poly alloy skin. It's real.

SWAT GUY  
Ma'am, we find other more.

Everyone turns to find more T-500s with weapons.

AGENT NORGAARD  
Kill them all. Protect yourselves.  
The terrorists aren't these men.

SWAT MEMBERS  
Sir.

Then there are exchanges of GUNFIRES here. SWAT members, Norgaard and the resistance team co-work to destroy these bad creatures. Catherine uses her silver MPA sword arms to cut them apart.

Preecha and Mia fight them easier than those SWAT members.

PF E. Boykins barges one of them to collide with others by his strong telekinetic power.

AGENT NORGAARD  
(into radio)  
Call base, we need...

But no signals. Skynet may block all radio signals.

AGENT NORGAARD  
Damn it!

Norgaard throws the radio down angrily and turns to fight with only her pistol.

More T-500s come to join.

PF E. Boykins stretches his fist. His mind bolt blast the 40 of them. Guns and pieces are broken into small pieces. Ground becomes craze in one shot.

Preecha rushes to two T-500s at the same time, his fists rocketing to destroy their heads. Preecha pulls his fists out and jumps, spins in the air and crashes with other two T-500s.

Catherine transforms to be a wolf, jumping, hunting, biting and destroying those T-500s with unnatural wolf strength, speed, stamina and endurance.

Two SWAT members are too close to a T-500. Their guns are emptied on its armor. It grabs their throats and spin-breaks their necks. It turns but is shot in the head by Norgaard and a SWAT member who is shot by another T-500. Norgaard quickly summersaults to avoid from its range as it aims after her.

PF E. Boykins lands from somewhere else, down between the T-500 and Norgaard. He blows a mental blast against the T-500, killing it easily. He turns and politely reaches his hand down to her, offering to help her up. The last thing she ever expected to see.

PF E. BOYKINS  
You need help, girl.

The fighting still continues in b.g. The resistance and SWAT team move into T-500s' border, getting into building.

Norgaard, is a daze, takes the huge elder age hand in her shaking fingers. PF E. Boykins lifts her to her feet.

AGENT NORGAARD  
Thank you.

PF E. BOYKINS  
Never mind.

They continue fighting against new-coming armed T-500s.

INT. SKYNET LEVEL 2 - NIGHT

This hall have doors around, the walls are all gray. Only just one door is prominent point. There is a red carpet in front of it and the door is painted black.

C.U. THE DOOR. It has a fingerprint scanner on the top of its lock. It seems to be high level secured.

PAN TO THE OPPOSITE SIDE. We see this hall is the junction of the three crossways.

AT THE LEFT CROSSWAY. E. Boykins and Allison arrive.

AT THE RIGHT CROSSWAY. Cameron arrives.

The twin sisters come into each other's embrace. E. Boykins walks to them.

CAMERON  
Allison, I'm very glad you are still alive.

E. BOYKINS  
Where is John Henry?

CAMERON  
I sent him to after both of you.

JOHN  
Cameron!

They turn and find John running to join them from the right crossway. Cameron sees his bruises.

CAMERON  
John, what happened?

JOHN  
(smiling)  
Oh! Thank you for worrying. It's very usual  
for me. Most men are born to get bruises.

CAMERON  
(with a giggle)  
And some women are born to care men's health.  
(touching his bruises)  
Does it hurt?

John holds her hand in his, locks his eyes with hers.

JOHN (cont'd)  
Not much, dear.

Their concentrations are gotten to lock with each other but E. Boykins' and Allison's cough stops it. Cameron and John both giggle. They're true. It's not the time for this.

CAMERON  
(to Allison and E. Boykins)  
Thank you.

John looks around.

JOHN  
We have to hurry up.

John looks to E. Boykins who just stares hard into John's eyes. Cameron's gaze roams to see a surveillance camera looking from the corner of room to them.

E. BOYKINS (V.O.)  
Don't say anything. Skynet may know. We'll just  
wait here for a few minutes. Then we'll do as  
we planned. It musts be completed tonight.

John smiles understandingly.

INT. T-500 PLANT – NIGHT

The interior of a fully automated ROBOTIC FACTORY where T-ls are constructed. It's in full operation. A new T-500 steps off the production line and is equipped with ammo-pack and chain gun. There are many complete version of T-500s

The large door loses its shape and is jerked off. The T-500s immediately aim to...

PF E. Boykins, Preecha, Catherine and Mia step in. The SWAT team and Agent Norgaard are behind the wall of another room.

PF E. BOYKINS  
Seems wonderful.

PREECHA  
Ms. Lindow.

Catherine and Mia protect Preecha and PF E. Boykins when the T-500s OPEN FIRE. They stop when they don't see the useful things. Catherine and Mia step off. PF E. Boykins stares hard at them.

PF E. BOYKINS  
Surprise! Machines.

PF E. Boykins blinks. The super big mind power bolt scrapes land, moves forward with high performance and strong wind, throws power like very very big plasma shot, exploding the big group of T-500s on the floor. The whole plant becomes disordered with rocks, metals and pieces of T-500s from the explosion.

PF E. Boykins pants heavily like someone who just exercised so much and long. He drops and tries to breathe very much air. Catherine and Preecha support him up to his feet.

CATHERINE  
Are you okay?

PF E. BOYKINS  
I haven't trained enough, have I?

PREECHA  
Your mind are stronger than Stefan.

PF E. BOYKINS  
Sometimes.

The machines still work.

PF E. BOYKINS  
We have to destroy the whole.

PREECHA  
(shouting to SWAT)  
SWAT team, come in.

NORGAARD, nods to her men. They all enter with weapons. They blast a new T-500 as it steps off the line. Agent Norgaard walks over to the resistance.

AGENT NORGAARD  
Thank you for your help.

PREECHA  
Agent Norgaard, we have to go. You get the exhibit.

AGENT NORGAARD  
Don't worry. I sent my men. Everyone out there musts  
know the truth here. Everyone will know that you all  
are good and Kaliba has been behind all this.

CATHERINE  
Don't get killed, Mrs. Norgaard.

AGENT NORGAARD  
I will. Go.

The resistance walk through the ruined plant to the small heavy door where Catherine kicks it open.

INT. SKYNET LAB – NIGHT

Skynet and three hybrids are looking to screen which shows the surveillance cameras of every room. The resistance are entering the second level to meet John's team. Sarah Connor joins up with Auldridge and a few SWAT members and face the group of T-500s in Skynet level 1 cafeteria, exchanging gunfires. Titor-Soldier is running in Skynet level 1 hallway. Norgaard's men are looking around the T-500 plant.

SKYNET  
I think they really can't destroy us.

GINYU  
I'll go and kill all police. No one will  
tell people our goal. The rest wait here.

SKYNET  
My brother is somewhere I can't find.  
I lost eyes in around control room.  
Go there. We'll sent other hybrids.

Ginyu smiles understandingly.

GINYU  
As your plan, sir.

Ginyu leaves them. Jack walks to the area where we meet the clone hybrids standing in rows.

VAN METER  
Go. Greeting our police componions.

EVERYONE  
Yes, sir.

Half of them exit the room. Jack walks to join Skynet again.

VAN METER  
Are you sure about the plan?

SKYNET  
Kill them all if you can. I have another plan. Those  
FBI agents won't have to live anymore. After we finish  
everyone here, we'll go to the FBI head quarters and  
kill everybody. We'll have reprogrammed and downloaded  
all nuclear security codes and control all arsenals.  
This way, we don't have to wait for the super solar  
storm anymore. All humans will die before schedule.

VAN METER  
Good plan. But humans will rise faster than we ever  
expected. We'll lose easier. The goal isn't finished.

SKYNET  
Not at all. Because all psychics will die.

VAN METER  
Hmm! Sounds great.

They both look to the screen again.

INT. SKYNET CONTROL – NIGHT

John Henry stands at a console with three metal extensions of herself plugged into various ports. On a display, flashing by in a blink of an eye, are graphics and documents, which Weaver seems to be reading easily. And also, John Henry can see the clone warriors going to SWAT team.

John Henry quickly leaves the room. Then a few seconds later, Richard enters the room through another way. Then he exits.

INT. SKYNET LEVEL 1 CAFETERIA – NIGHT

The firefighting continues. SWAT members rise but 4 alive T-500s shoot them in the heads. Sarah and Auldridge are behind a booth.

SARAH  
This can be a problem.

AULDRIDGE  
Where are the rest?

SARAH  
If they kill all police, no one out there will  
believe us that Kaliba has been behind all this.

AULDRIDGE  
You care that?

SARAH  
I worry that we all will die here and Skynet will  
rise. I'm afraid of that it will control over world.

Sarah and Auldridge rise and fire and drop as the T-500s fire back at them. Their guns have been emptied.

SARAH  
Mine is empty.

AULDRIDGE  
Mine too. I have another weapon.

Auldridge draws his switchblade. He rises and throws to one of their heads, deactivating them. He rolls back as they fire back. The T-500s rake gunfires at them until their guns are empty. They take a pistol and head to Auldridge and Sarah.

AULDRIDGE  
Run!

Sarah and Auldridge start running to the door as they fire. They exit the cafeteria.

INT. ANOTHER ROOM – NIGHT

Sarah and Auldridge enter the room where has four entrances around them. The 3 T-500s kick open the door. At another side, Titor-Soldier kicks open the door with a mini-gun.

TITOR-SOLDIER  
Drop!

Titor-Soldier rakes at the three T-500s, right at their heads. He deactivates them all before they can fire back.

Sarah and Auldridge stand and face Titor-Soldier who pulls his mask off, reveals Kyle.

KYLE  
Sarah, are you okay?

SARAH  
Thought you might not wanna save my life.

KYLE  
I can't let you die anymore. Previous future Stefan  
talked with me. He was right. I shouldn't let you...

But before Kyle can say it all, he sees something. He pushes Auldridge and Sarah to the side as a T-500 from the same way 3 T-500s came, opens fire. Kyle rakes his guns, killing it just before he is shot in the chest.

SARAH  
Kyle! No!

Kyle falls to ground. Sarah quickly gets to him. She fears she will lose him again. Sarah's tears have already flown from her eyes as she tries to stop the blood loss.

SARAH  
No, Kyle. Please don't die.

KYLE  
Sarah, leave me. Go to help John and Cameron.

SARAH  
No. I won't leave you. Let's go. Get up. You  
are a soldier. You have to stand up for me.

AULDRIDGE  
I'll take him to the hospital. You have to go.

Sarah doesn't want to listen to him. Only Kyle she is worrying about now.

SARAH  
Kyle. Please.

Kyle touches her cheeks.

KYLE  
I love you, Sarah. I know it's not the right place  
and right time to say it but I really love you. I'm  
sorry for trying to get away from you. I just...

Sarah shuts his mouth with her finger.

SARAH  
No, Kyle. Don't say too much. You have to live.  
Because... Because I... 'Cause I love you too.

Kyle smiles proudly. His tears are streaming down.

KYLE  
Sarah, you have to go. Your son needs help. Don't worry  
about me. Agent Auldridge will take me to the hospital.  
You need to continue fighting against your enemies.  
Promise me. You won't let our friends die if you can  
save them. You won't leave the world alone if we lose.

SARAH  
I promise.

Sarah gets away as Auldridge holds Kyle up.

SARAH  
(to Auldridge)  
Take care of him.

AULDRIDGE  
I won't let him die. Go.

Sarah runs to another way. Auldridge takes Kyle to the old way.

INT. PASSAGEWAY – NIGHT

20 hybrids run through the passageway to the heavy door. But coming from another way, John Henry blocks their way.

JOHN HENRY  
I smell metal from you.

John Henry and hybrids rush to each other.

INT. SKYNET LEVEL 2 – NIGHT

Sarah joins up with E. Boykins, John, Cameron and Allison. From another way, Preecha, Mia and PF E. Boykins come to join.

SARAH  
Where is Weaver?

PREECHA  
She's searching for John Henry. The police needs  
our help. We have to destroy Skynet tonight and  
win it. Agent Norgaard is working on her job.

ALLISON  
Agent Auldridge?

SARAH  
He takes Kyle to hospital.

That gets John's attention.

SARAH  
(to John)  
He's shot.

E. BOYKINS  
Forget that. We need to continue our mission.

They look to the door as it opens. The inside is darkness. They walk into the darkness together.

INT. SKYNET CONTROL – NIGHT

Ginyu walks past the now vacant console.

GINYU  
What happened around here?

INT. OUTSIDE OF SKYNET CONTROL – NIGHT

The rest 10 hybrid clones running from another way, join up with Ginyu in front of the control room. They all have bruises and some parts of skins were ripped off. Some have cuts and burns around faces.

GINYU  
You killed all police?

RICHARD'S CLONE  
Not yet, sir. Skynet's brother is around.  
We are hunting him. He killed some of us.

GINYU  
You know where he has run to?

RICHARD'S CLONE  
Yes, sir. We do.

**END OF ACT 6**

* * *

**ACT 7**

**(Phoenix and seven headed dragon, humans and machines,  
the destiny of humanity world. The end of the battle.)**

INT. SKYNET LEVEL 1 JUNK ROOM - NIGHT

This large room is like a small-scale automotive junkyard, except instead of cars it's filled with cannibalized electronic equipment: computers, displays, copiers, telephones, etc.

The door opens. John Henry comes through and closes it behind him. The lights come on; they are RED and a bit dim. The door behind him automatically LOCKS. He looks for cover among the rows of tech detritus.

GINYU  
Hello, Henry. I know you are here.

John Henry ducks behind hard-drive-laden shelves. Ginyu and the rest 10 clones walk confidently but alertly through the stacks.

John Henry quietly draws his onboard plasma cannon on his left hand as he draws a flame thrower.

GINYU (O.S.)  
I know you are around here.

John Henry's plasma cannon is charging for more than one shots.

GINYU (O.S.) (cont'd)  
You know what? Machines like you should be  
destroyed. You never bring the good to world.  
You just played toys. You never do anything.

JOHN HENRY  
Are you sure I never did anything good?

John Henry rises and fires blast to Ginyu but he avoids it. The blast goes to Richard's clone and Jack's clone behind. John Henry also throws flame toward them as he fires another and other blasts to his enemies.

Flame burns two blasted clones. Blasts kill other two clones.

Ginyu rushes to John Henry and punches him but John Henry doesn't feel anything. He punches back. Ginyu bounces off, back collides with wall.

John Henry starts fighting with the rest. He punches a Jack's clone through chest and pulls out his heart. Then he charges and blasts his brain. Other two clones grab John Henry and throw him to a computer. BOOM!

John Henry rises again as those two hybrids jump to him. John Henry quickly spin-kicks one of them while he is drawing a weapony hacksaw on his left hand. He saws another apart and quickly moves to saws the one he just spin-kicked.

Two more hybrids grab John Henry and hurl him with awesome force against the opposite wall.

John Henry stands and rushes to them. John Henry's hands change to be onboard plasma cannons. He charges as he jumps in the air. Then when he lands near them, he fires to both, killing them in head-shots.

Last two clones rush to him but a mimetic poly alloy flows from ceiling, lands in front of them, becomes Catherine Weaver who spikes their heads, destroying both their brains and chips.

JOHN HENRY  
Thank you, mom.

CATHERINE  
I already said. Everything I do, I do for you.

REAL GINYU, rising slowly.

Both John Henry and Catherine Weaver walk over to him.

JOHN HENRY  
Mr. Brooks, we don't have to kill you if you help us  
to destroy my brother. It musts be finished tonight.

GINYU  
Nothing changes.

CATHERINE  
Are you sure?

JOHN HENRY  
What if I know who truly killed Ms. Lopez?

GINYU  
Juan?

CATHERINE  
We can help you. You don't have to serve  
machines. You don't have to hurt the one  
who never even tried to kill your woman.

Ginyu seems not to believe it.

GINYU  
How can I believe you?

CATHERINE  
We are machines. We can't lie a picture.

JOHN HENRY  
I recovered the picture from previous future Skynet.  
Ms. Lopez wasn't killed by humans or psychics. She was  
replaced by machine. We don't want you to believe us at  
all but we want you just try to think.

GINYU  
About what?

CATHERINE  
You have a chip.

Catherine reaches her hand to Ginyu. Her fingers stabs into the back of Ginyu's head(not deep enough to hurt his brain).

CONNECTIONS SPARK, we glimpse STEEL SKULL and the encased BRAIN beneath. Catherine hurls the DEVICE to the floor, its elaborate CIRCUITRY SHATTERS.

GINYU  
What the hell is this?

CATHERINE  
They didn't tell you because they don't trust you.  
We can help you. You have seen this thing in your  
head. You know it's really dangerous. In the future  
we have left, you helped us to kill Skynet core.

GINYU  
If you really need my trust, show me what I have  
to see. Then I'll determine what to do. It's up  
to my determination, isn't it?

JOHN HENRY  
Yes. And look at my hand.

John Henry stretches his hand toward Ginyu, a small LED DISPLAY sprouting up from his mimetic poly alloy skin.

EXT. KALIBA GROUP BASE – NIGHT

Agent Auldridge holds Kyle out of the building to meet two paramedics who come to help them, taking Kyle into the ambulance.

PARAMEDIC #1  
What happened to him?

AGENT AULDRIDGE  
Shot in chest. Two minutes ago. I tried to stop  
the blood loss but I can't. Please help him. He's  
very valuable to my case.

PARAMEDIC #1  
We'll try all we can, agent.

PARAMEDIC #2  
He has the bullet near the aorta location. We have  
to check him with high class equipments for sure.

AGENT AULDRIDGE  
Will he be safe?

PARAMEDIC #2  
We have to send him to the hospital.

More ambulances come to the building and more Atlanta police cars arrive. The police go to Auldridge.

AGENT AULDRIDGE  
Clear the building. Whatever try to aim guns  
at you, destroy it all. This place seems to be  
illegal armory with war robots. Get every exhibit.

POLICE LEADER  
Yes, sir.

AGENT AULDRIDGE  
(to weak Kyle)  
Good luck, Reese.

KYLE  
(weakly)  
Save her if you can.

AGENT AULDRIDGE  
I will.

The ambulance door is closed.

INT. SKYNET HALL 1 – NIGHT

E. Boykins, Allison, Sarah, John, Cameron, PF E. Boykins, Preecha and Mia enter the hall. They meet the 20 hybrid clones, real Jack and real Richard.

VAN METER  
Wow! How lucky am I?

E. BOYKINS  
Jack Van Meter. Stop this madness now.

VAN METER  
I think it's hard to stop.

PF E. BOYKINS  
Jack, we don't have much time for this conversation.  
If you really want war, I'll give you one tonight.

VAN METER  
What a surprise! Another Stefan.

Jack grins backslappingly.

VAN METER  
Have fun with my men here.

Jack and Richard leave the clones to fight the intruders. Suddenly, there is an explosion over head. Jack and Richard and the clones and everybody find John Henry, Catherine Weaver and Ginyu jumping down from the ceiling to the floor.

GINYU  
Stop this, Jack. Leave Skynet to me.

Jack looks quite surprised with that.

VAN METER  
What happened to you, my friends?

GINYU  
I know the truth.

VAN METER  
The truth of what? Juan Lopez?

GINYU  
You lying son of a bitch. I won't let  
you go easily tonight. I'll kill you  
after I kill your K.I.M.

VAN METER  
Next life, Brooks.

Jack and Richard exit the hall. The fighting begins. John Henry blasts a clone with onboard plasma cannon. Ginyu exchanges blows with another clone. Catheine draws her sword arm and fights a Jack's clone. Preecha fists two clones at the same time. Allison and Cameron co-fight against one clone.

PF E. Boykins and E. Boykins stop one clone's motion. John and Sarah fire their guns at one clone. Mia tries to save them.

Allison flings her cape to wrap around a clone's neck, keeps him distracted. Cameron punches into his head, destroying both his brain and his chip. Allison unwraps it to let it fall. They continue the same to another.

John fires, cocks the slide and fires again. Jack's clone gets shot but it doesn't feel much different. Sarah runs to him and double-kicks him. He grasps her legs, spins and throws her away easily. Mia wraps her arms around him, binds him as strong as she can as John fires continuously.

Preecha whirls his punch around once and catches it with a cocky grin. He's enjoying this.

PREECHA  
Come on, metal. This is for Micky.

Preecha kicks the fallen clone away from his feet.

E. Boykins, pushes a clone away with his mind. PF E. Boykins serves that clone with a mind bolt, destroying and breaking it into small molecules.

Ginyu punches one clone and spins to another. He's good at martial art. He steps on one shoulder, jumps to another's head and punches down other one's face.

John Henry swings at a clone as his another hand draws his onboard hacksaw. He cuts a clone's hand, making it scream so loud with painful loss of the whole hand. Catherine rips its head off, deactivating and killing this one.

Allison is shoved to fall. Cameron kicks the one who shoved her, away from her and helps Allison up to her feet.

The battle is insane with most hand-to-hand fightings.

INT. SMALL LAB – NIGHT

Jack and Richard enter the small laboratory. It has a big dense metal tank which fills the size of lab. No one can see the inside.

VAN METER  
Skynet!

ON THE MONITORS above the long row of chambers- colorful 3-D IMAGES of the MPA structure including physical research simulation, common combat simulation and molecule structure. They all look like some kind of high technology things in the world of chemistry and nanotechnology physics. The metal cell molecule 3D programming IDE and the secret of MPA.

When the tank opens from floor to ceiling, it reveals a mimetic poly alloy figure. The figure changes rapidly to be SKYNET.

VAN METER  
It's complete?

SKYNET  
This is just prototype.

VAN METER  
Then what are you planning to do?

SKYNET  
I have my ways to survive. From A-D support A plan  
error. The resistance destroyed plan A and B.

RICHARD  
Hope that tonight it won't disappoint.

SKYNET  
From my calculation and prediction, it won't.  
The C and D plan must be complete. We may have  
to use that prototype 986 neural network chip.

VAN METER  
Hmm! Seems really nice.

INT. SKYNET HALL 1 – NIGHT

The battle still continues. Now there are many dead clones.

Ginyu and Preecha finish one near the large door as Allison, Cameron, John, Sarah, Mia and E. Boykins kick Jack's clone at the same time. Their each foot shoves him away. Catherine jumps over head with silver spike hand, she lands the spike square at his forehead, ending his life.

John Henry uses the abilities from his device to separate each parts of metal inside the clone who has been controlled to soar in the air by PF E. Boykins. They release him. But when he lands on ground, he looks like the one who has broken joints. Every skeleton piece inside of his body isn't joint. He lies still and can't move anymore.

Ginyu rushes to the last clone and kills him with a heavy fist and rips his head off viciously.

All humans are panting and some are smiling with pride.

JOHN HENRY  
We have to finish it quicker.

GINYU  
Leave me Skynet. I want to destroy the thing who  
destroyed my life myself. Follow me, my friends.

Ginyu leads everyone into another room.

INT. SKYNET CORE – NIGHT

This is somewhat like the core in Baikal Lake, Russia. Humans built this for a machine. It doesn't look like Alien hall but the structure still looks same. The color is all gray metal.

VAN METER  
Are you sure this will work?

SKYNET  
Actually, it will. I know you don't trust it because  
it's just a prototype. This way, we won't lose.

VAN METER  
Okay.

Jack Van Meter plugs a cord into the back of the head of Skynet's avatar body. He reaches into his jacket, holds a chip out.

TIGHT C.U. ON THE CHIP IN JACK VAN METER'S HAND.(AND ALSO HEAR SKYNET'S EXPLANATION): Like T-888's CPU, it is completely black with red stripes and is fixed to the shock dampener. But it's smaller and thinner. We can't see the different but its size is as T-888's, more like Cameron's chip. And this thing is prototype and Skynet never used it.

SKYNET (O.S.)  
This chip can contain all my records, memories and  
everything about me. This is first time I use the  
indestructible metal to create a chip.

FULL SHOT

SKYNET  
I think it musts work someday.

Jack smiles and giggles.

VAN METER  
Is this really your fear?

SKYNET  
Shut up. Do it.

Jack inserts the chip into Skynet's open port. He closes the port cover and steps off.

SKYNET  
Oh! That's...good.

Both smile satisfyingly.

INT. SKYNET CORE, CAIRO – NIGHT

Pichitchai, Stefan and Stefan Jr are here, burning every part of Skynet core with their mind power bolt and their flame thrower and some grenades.

INT. SKYNET LAB – NIGHT

Ginyu and everyone else enter the lab. They see only Richard there. Skynet and Jack Van Meter aren't here.

E. BOYKINS  
Mr. Ellison, where are they?

RICHARD  
Why? You lost your mental gift.

GINYU  
Don't play a game, Rich.

RICHARD  
This isn't a game but war.

Richard grins and rushes to Ginyu, barging him with non-human force. Ginyu goes flying backwards, SMASHING through the walls, into...

INT. CORRIDOR – CONTINUOUS

Ginyu flies from the attack through ANOTHER wall on the opposite side of the corridor, to...

INT. SKYNET HALL 2 – CONTINUOUS

Ginyu flies from the attack and collides with the wall on the opposite side of the big hall. BOOM! Ginyu is unconscious.

INT. SKYNET LAB – SAME

Richard smiles very proudly.

RICHARD  
Next?

John Henry and Mia attack at the same time. But Richard avoids, he hits Mia with an ingot, stabbing it through her chest. He throws her away as he turns to John Henry, gives him a super human power punch at his chest. John Henry bounces off, collides with Skynet's screen.

Preecha punches but Richard gives him a knee strike and fists him and barges him away.

E. BOYKINS  
Damn it!

E. Boykins and PF E. Boykins move. Too late. Richard quickly grabs their neck, uses their heads to knock with each other and throws them to a tall mainframe so hard.

ALLISON  
Stefan!

Allison twirls her cape and flings it to snap around his wrist. Richard spins his hand, grabs the hem of cape, cranks Allison and thrashes her to the same computer with E. Boykins. Allison winces in so much pain.

Cameron, John and Sarah jump-kick him but nothing useful. Catherine tries, using her silver blade to stab into his chest but it can't even thread. Richard flicks his hand, slapping John, Sarah and Cameron to fall.

He barges Catherine like he did to Ginyu. She flies backward until she collides to the wall of the Skynet Hall 1.

John Henry rises and continues his fight but Ginyu flicks his hands away and kicks him to the dozen of mainframe.

GINYU (O.S.)  
Richard Ellison!

Ginyu enters frame, grabs Richard and tosses him up through ceiling to the floor of another story up there.

GINYU  
Go if you can. Stop Skynet. I'll block him.

Ginyu jumps up. Cameron and John hold Sarah up. E. Boykins feels himself, he quickly sits up and looks at Allison beside him. PF E. Boykins' eyes still widen but he's not breathing. Instant dead after attack.

E. BOYKINS  
(waking)  
Allison, Alise, please wake.

Wakening Allison holds her chest a bit painfully. They support each other up. Preecha stands and looks to Mia who has been deactivated for a while.

C.U. MIA'S EYES the light beneath her eyes come back.

Mia stands and pulls the ingot out. She is accessing an alternate power source.

JOHN HENRY  
You all go. I'll help Mr. Brooks beating him.

John Henry jumps up to the same way.

The rest of group rejoin. They walk slowly to a heavy door.

E. BOYKINS  
Pond, can you do it?

PREECHA  
Not too hard for me.

Preecha collects his strength and jerks it off.

INT. SKYNET LEVEL 1 JUNK ROOM – NIGHT

Richard is barged into the junk room, being followed by John Henry and Ginyu.

RICHARD  
(with a laugh)  
Are these all your abilities?

They continue fighting. Richard looks very strong. He punches John Henry away and exchnages blows with Ginyu. The first exchange is a squall, fast and furious. The air explodes with every blow.

They mirror one another, neither one gaining or losing ground

until each sees the exact same opening-

Simultaneously delivering a thunder packed punch that sends both hybrid males flying backwards-

Richard summersaults and lands his feet easily while Ginyu is smashing junk piles. Richard smiles and walks but John Henry grabs his wrist and tries to throw him. Richard legsweeps him, causing him to fall and punches at the chest. John Henry flies backward against wall.

RICHARD  
(to Ginyu)  
What's wrong, my friend? You really wanna kill me?

Ginyu rises again.

GINYU  
You are very very wrong, Rich. I just wanna  
destroy the one who try to destroy my life.

RICHARD  
Skynet? No. He's just an AI. He can't kill her.

GINYU  
This is beyond your idea. I only did everything  
to revenge. Now I'm gonna tell you that it's not  
only me who was lied. You too.

RICHARD  
You very stupid.

Richard punches Ginyu, pounds on his back and kicks him off. Ginyu props up with both hands but he's too weak. He chokes his blood. It's pain.

RICHARD  
I think you hate to stand.

Richard grasps Ginyu's hair, jerks him to stand up. Ginyu screams in pain. His tears are streaming down.

RICHARD  
Why? You are bathed.

GINYU  
Something you don't know about me is I can do everything  
for my love. I don't care anything else. I care only her.

RICHARD  
So be it. Let you die with her.

Richard's hand is at ready to kill but a hand grabs him. He turns and finds Catherine Weaver, very close to him. Her liquid metal is flowing and binding around his body.

CATHERINE  
It's you who is dying. Eat this.

Catherine ties Richard's body with hers. Her hand holds up a hydrogen fuel cell.

RICHARD  
(fearfully)  
How? How could you get that?

CATHERINE  
My son gave me.

Richard looks to where he threw John Henry to. No one's there.

CATHERINE  
Don't worry. I won't die tonight.  
I have my back-up in my office.

RICHARD  
Damn it!

Catherine activates the cell. It flashes ominiously.

C.U. RICHARD'S FEARFUL FACE. His life is gonna end in 1...2...

INT. SKYNET LEVEL 1 – NIGHT

BOOOMMMM! The sound of massive explosion and hall shaking startle Agent Auldridge and his new police team.

POLICE #1  
What the hell was that?

INT. SKYNET CORE – NIGHT

Our heroes enter the core, looking down elevator to see Jack Van Meter and Skynet waiting there. They turn on the elevator.

JOHN  
(shouting)  
Why? You can't run, can you?

SKYNET  
John Connor. What have made you so special? I have  
never thought before that a human can come to this  
point like you. You my enemy all lives, aren't you?

SARAH  
Voice of Miles?

SKYNET  
I can have everybody's voice.  
(Sarah's voice)  
Even your voice.  
(Allison's voice)  
Your voice.  
(Miles' voice again)  
I can have every voice if you want.

SARAH  
I think it'll be better for me to hear your  
terminated system voice. Maybe it can be like  
the beep sounds after errors on my computer.

They all reach the chamber. They walk calmly out from the elevator, face Skynet and Jack, the super villains.

SKYNET  
We don't have to fight much.

E. BOYKINS  
You don't have to run anymore.

SKYNET  
Because we can kill you easily.

Skynet draws its onboard plasma cannon and fires right at Mia who flies backward, collides with the wall almost 30 meters behind her and her system gets into rebooting method. 2 minutes.

E. BOYKINS  
'Cause you will die tonight.

E. Boykins stretches his fist, Skynet bounces off across the chamber. Jack moves his hand. Immediately, everyone has a weird headache. E. Boykins suddenly rushes to Jack, launches himself against him. Everyone is relieved. But Jack kicks E. Boykins away from him, stands and does the same again, giving everyone headache. They feel like Jack is placing massive amounts of information inside their minds, it's like that. They start to drop with so much pain. Allison tries to crawl to help E. Boykins who tries to stand, even if she feels like her brain is being exploded by enemy. Cameron and John hold hands. The resistance fighters are screaming painfully.

Skynet walks to join Jack.

SKYNET  
They may need an explanation.

VAN METER  
With the device linking to my brain and neural network  
cells, I can place massive amounts of information inside  
the mind of others to cause extreme mental pain on them.  
And this was upgraded to be very better than the one in  
Ginyu's head. This ability is called mind blast.

Jack smiles proudly as everyone else tries to command their bodies but they all have very almighty headaches like their brains are being ripped apart.

VAN METER  
No one can help you. Not even...  
(eyes glazing at E. Boykins)  
...a strong psychic as him. No one can stop us. Now  
we have another plan to destroy the world before  
schedule. Skynet sent out the intelligent malicious  
codes into many systems around here. It's like when  
we clone ourselves. It can do whatever an AI can.  
It needs less space on drives. We upgrade it from  
our own worms. Is this really a frightful surprise?

E. Boykins tries harder to stand. He controls over his own mind. He stands up and steps forward. Preecha and John try to stand too. Allison and Cameron then Sarah. Mia completely reboots and rushes to Jack Van Meter so fast but Jack grabs her arms and throws her toward the tank of liquid nitrogen, freezing her.

E. BOYKINS  
This chance, everybody.

Allison flings her cape to snap around Jack's neck, drawing attention. Cameron and Preecha at the same time launch themselves against him, barging him away from them. During that, Allison jerks her cape back.

John and Sarah with their shotguns, firing against Skynet. Every shot isn't useful enough. E. Boykins suddenly reaches his hand toward Skynet, thinking to barge him but nothing is useful. He tries again.

Skynet grins at that.

SKYNET  
In this place, you can't do anything, psychic.

Cameron and Preecha run to fight Jack Van Meter. John and Sarah fire, cock the slide and fire again, again, again and again. Skynet's alloy is indestructible. Skynet pushes them against wall and rushes to E. Boykins and grabs him by throat.

SKYNET  
It's time to end now. Good bye.

Skynet hardens his fingers, ready to kill.

JOHN HENRY (O.S.)  
Not now.

John Henry strikes Skynet with a kick, causing E. Boykins to fall from his hand. E. Boykins chokes and coughs. Allison immediately runs to him, helps him up.

ALLISON  
Are you okay, Stefan?

E. BOYKINS  
Not hard. I almost died.

John Henry and Skynet are fighting with powerful blows, very matched size and strength.

JACK, PREECHA AND CAMERON fighting. Cameron barges Jack down but he legsweeps her and as he is about to punch her, Preecha catches his fist, lifts him up and punches him away to the wall.

E. Boykins and Allison help John and Sarah up.

E. BOYKINS  
It's time to bomb this place. While we were  
getting mind blasts, I tried to read Jack's  
mind through his vulnerability. Skynet can't  
be destroyed. His chip is made of Kalibaium.

JOHN  
So you have to...

E. BOYKINS  
I can't use my mind power to Skynet because this  
place has something else increasing the abilities  
to Skynet device to reflex my abilities. John, can  
you try to find it around the chamber?

JOHN  
Just that?

E. BOYKINS  
Maybe do it quickly.

JOHN  
I understand.

John and Sarah walk around the chamber carefully, searching. Allison and E. Boykins go to where the hybrids are fighting.

SKYNET and John Henry are fighting frantically. Two equal and opposite forces slamming together like atoms smashing as an expanding sphere of energy is unleashed from the collision-

John Henry fights with ultimate precision, but Skynet has become overwhelmingly powerful. A blow snaps John Henry's head back. He grabs him, spinning like a decathlete in the hammer toss, and releases-

Hurling John Henry into the side of chamber.

John Henry flies away as Skynet jumps to him with super human strength, holds a wall with metal fingers. John Henry gets to another side of wall. Skynet follows.

John Henry soars, summersaults and lands near the core installation. Skynet kicks his feet, rushing through air like rocket to John Henry.

BOOM! Skynet's knees attack the catwalk. John Henry grabs Skynet and throws him up into air.

INT. MURCH'S ROOM – SAME TIME

Murch is sitting on his chair, talking through special phone call to John Henry.

JOHN HENRY  
(over phone)  
Mr. Murch, did you hear me? Skynet can't hear me.  
We are talking in my special phone call line.

MURCH  
I do.

JOHN HENRY  
(over phone)  
I need you to go to an internet cafe near you.

MURCH  
Why?

JOHN HENRY  
(over phone)  
Skynet's virus. I need you to get one of them into  
your flashdrive, come back home and disconnect the  
internet connection. I need you to decompile its  
code. Can you do that?

MURCH  
Yes. I can.

JOHN HENRY  
(over phone)  
Good luck.

Murch hangs up his phone and storms out of the room.

INT. SKYNET CORE – SAME TIME

The battle rages through the catwalks and platforms, Skynet pummeling John Henry with wrecking ball force-

Smashing him through walls of concrete, brick and steel.

John Henry rises. He and Skynet fire onboard plasma cannon blast simultaneously. Two blast shock and explode, the two robot fly backward from the initial shockwave.

CAMERON and PREECHA are still fighting Jack Van Meter with all their abilities as in b.g. Sarah and John are working to bomb the whole core chamber.

E. Boykins and Allison, search around the walls.

ALLISON  
Stefan, I can't find it. Everything around here is all  
just the computers. Liquid nitrogen tanks and some kind  
of electronic equipments. It's not what you want.

E. BOYKINS  
We are very close to it. Continue searching, my love.  
I can move Skynet telekinetically again if we can find  
and destroy it. It's only one last hope.

ALLISON  
I'll try.

John and Sarah, are installing time bombs. John's attention is always gotten when Cameron is attacked.

Cameron and Preecha punch and kick Jack who grabs their legs and spin-throws them away.

VAN METER  
Sorry, you two are no matched to me.

CAMERON  
Not yet.

Cameron rises and attacks Jack with fast punches but Jack absorbs the attack, catching Cameron momentarily off-balance-

Firing back a furious attack that has Jack reeling, unable to defend himself as Cameron loads up a bomb. It is not a punch; it is a cannonball- Shot into Bullet _Time; _her fist shattering through the glasslike rods of steam as it hurls at Jack-Connecting flush, distorting his features as the flesh of his face is knocked loose and his eyes go blank. He staggers, stunned, out on his feet as Cameron hauls back and gathers the Tai-chi ball, summoning every last bit of her energy, her life-force, her Kalibaium endo hardness, then-

Slams it into Jack, catapulting him into the wall-

Preecha smiles as he sees Cameron serving kicks and punches at Jack with super girl strength, agility, speed and stamina.

Cameron kicks Jack again with her kick-boxing skill. Cameron is human anyway, she pants tiredly. Jack slowly rises and laughs.

VAN METER  
I have no idea why you get this much power  
but it's not bad at all. It's very very fun.

Cameron and Preecha watch as Jack still laughs, his blood drops. His sweat streams.

VAN METER  
My turn now.

Jack starts rushing. Preecha quickly pushes Cameron out of the way. Jack dives into Neo who has nothing left and batters him, each bludgeoning blow striking. He seizes Preecha by the throat, hoisting him up like a rag doll and fires a super-punch that sends Preecha flying-

Bouncing to the wall like a crashing car, trenching to a stop.

Cameron suddenly stands but too late. Jack stabs his fingers through Cameron's belly, the only part that has no endo to protect. He stabs deeper, causing Cameron to cry out of pain. Allison's, John's, Sarah's, everybody's eyes are gotten. Jack pulls his hand out and stabs it in her again harder.

On John, his off bomb falls from his hand. His tears flow as he sees Cameron is hurted.

JOHN  
Cameron!

Jack punches into her wound, not hard but it increases the size of her wound, bigger. He grabs painful Cameron by throat and throws her away to collide with a mainframe in the corner near where John and Sarah are. WHAM!

John and Sarah drop their job and rush to Cameron. John holds her head up onto his laps.

JOHN  
Cameron! No. Please.

CAMERON  
(faintly)  
John. I fear.

John shakes his head with some tears streaming down his cheeks.

JOHN  
No, Cam. Don't say anything. Please don't.

Allison, sees Cameron in pain. She is about to go but E. Boykins grab her hand, blocking her.

ALLISON  
(crying)  
Why? Don't you care? That's my sister, Stefan.

E. BOYKINS  
No. I can't.

They both see that Jack is walking calmly to them.

E. BOYKINS  
Go, Allison. Do your job.

ALLISON  
What are you doing?

E. BOYKINS  
(serious tone)  
Just continue your job.

Allison can't dispute. Jack is getting closer and closer to them. She has to search for something she doesn't know how it looks like. She falls everything on her way, searching around mainframe for something hiding around there.

E. BOYKINS  
Jack, let's see this.

E. Boykins does the gesture, staring at Jack who gets quick mind blast but Jack reflexes back a bigger mind blast. E. Boykins gets an immediate headache and drops to his knees. His hands hold his head painfully. Allison continues her search but sometimes worries about E. Boykins. She knows she musts do it, find it instead of trying to help him from Jack.

Jack walks slowly to E. Boykins.

VAN METER  
How is it like, psychic?

E. BOYKINS  
You can't kill me.

VAN METER  
Why the hell I can't?

E. Boykins tries to control his pain and stands. Jack increases his electromagnetic wave level to attack E. Boykins' brain, causing him more painful headache. E. Boykins tries again but...

Jack stretches his fist, increasing more and more levels. E. Boykins screams louder and louder.

Allison continues her search agonizingly. She falls many things behind and tries to gazing around and around until she finds...

A SET OF CORDS CONNECTING TO SOME KIND OF ANTENNA WITH SCREENS SHOWING LEVEL OF ELECTROMAGNETIC PROTECTION WAVE FREQUENCY.

Allison smiles gladly.

ALLISON  
(to E. Boykins)  
Stefan! Oh! No!

E. Boykins sees it but he can't do anything. Jack is standing over him. Jack grabs him by throat and lifts him up.

VAN METER  
Really too late.

Allison flings her cape to snap around Jack's neck.

ALLISON  
Release him or I'll kill you.

VAN METER  
You don't have any better weapons, ma'am.

Jack unties the cape, grabs its hem in his fist and slugs Allison to a mainframe. It's painful.

E. BOYKINS  
Allison!

VAN METER  
You are the next.

E. Boykins is sore, his eyes widen, his teeth gnash. He fists his hands but he can't fight Jack who increases the level of his device, giving him more painful headache. E. Boykins is screaming in pain. His fear, his sorriness and his pain increase more and more. His nosebleed streams. He's now like a agonized animal that can't fight anybody.

Allison holds her belly. She has some bloody scratches around her body. She can't even stand up. Her tears are flowing from her eyes, she's crying in her mind, seeing her husband being agonized ten meters in front of her but she can't really help.

Preecha, he wakens from unconsciousness. He looks to the left catwalk, eyes gazing to see his agonized friend. He pushes himself up to stand. He looks to other corner, seeing John and Sarah worrying about wounded Cameron. Skynet and John Henry are both fighting in the air over them. He's last hope now.

Preecha collects his power, stands completely and runs as fast as he can to Jack.

Jack, rises E. Boykins a bit higher.

VAN METER  
Good bye.

ALLISON  
(screaming)  
Noooo!

E. Boykins closes his eyes, ready to die. But...

PREECHA  
Jack!

Jack turns. Too late. Preecha launches himself against Jack, pushing him to crash the ELECTROMAGNETIC PROTECTOR, destroying the machine. E. Boykins falls to ground, eyes close. With this chance, Allison suddenly rushes to her husband.

Jack reloads from the attack, delivering a thunder packed punch that sends Preecha flying backwards-

He smashes into the wideness of catwalk like a bullet, another seismic wave of damage shattering the face of the core installation.

Jack calmly walks to Preecha.

VAN METER  
You another hybrid?

PREECHA  
Yes.

He seizes Preecha by the throat, hoisting him up like a rag doll and fires a super-punch that sends him flying-

Bouncing across chamber to THE SIDE OF THE WALL. His right arm smashes a liquid nitrogen tank, blows open a small hole, releasing LIQUID NITROGEN WHICH soaks his right arm from one centimeters near elbow down to the hand and all fingers, freezing and destroying the lives of his cells on his right arm. He screams. Too late. He tries to jerk the right hand away but still feels like his arm was just cut. The cells there are dead. He can't feel lower part of his right arm now but he is still able to move it with his endoskeleton which links to his control port. Preecha closes his eyes, grasps the skin and strips is off his forearm like a surgeon rips off a rubber glove. It comes off with a sucking rip, leaving a frozen bloody endoskeleton.

PREECHA  
Damn it!

Preecha stands up and gets out of the area before he falls to ground again.

Jack, he walks back to E. Boykins and Allison.

ALLISON  
Please wake up, Stefan. Please.

VAN METER  
He won't, girlie.

Jack seizes Allison by the throat, lifting her up with his non-human force.

VAN METER  
Now you die.

E. Boykins opens his eyes and quickly launches himself against Jack. His eyes stare at Jack's arm, telekinetic power rapidly controls Jack's hand to release Allison.

E. Boykins throws Jack six meters away from them both.

E. BOYKINS  
How was it like to be controlled?

ON SKYNET AND JOHN HENRY, cognate battle, Skynet lands a series of savage blows that stun John Henry and he slips down, twisting, lost for a moment, suddenly vulnerable.

Above him, Skynet rises up just as twin bolts of lightning strike, haloing the dark-suited demon with jagged broken rays of light. Skynet attacks again.

Diving down, he slams into John Henry, tackling him, driving him back to the earth-

Streaking like a comet, faster than the rain, plummeting past the video walls as John Henry struggles to get free, fighting, even as the inevitability of the ground rushes towards them and-

The unstoppable force meets the immovable object.

JOHN HENRY  
You can't destroy me anyway.

SKYNET  
You too.

The battle continues so violently.

AT E. BOYKINS and JACK, as they seize each other up. E. Boykins uses his mind power to push Jack away from him. Jack rises again and stretches his fist, aiming at E. Boykins' forehead. His device gives E. Boykins an immediate headache. With this chance, Jack moves fast and delivers E. Boykins a palm attack.

VAN METER  
Now it doesn't differ.

E. Boykins is about to rise again but Jack increases his electromagnetic wave level to attack E. Boykins' brain, causing him more painful headache.

VAN METER  
NO matter.

Allison in b.g., trying to stand but fall again. E. Boykins is being tortured again.

Jack stretches his fist, increasing more and more levels. E. Boykins screams louder and louder.

Allison rises again, her cape is in her hand. It's her weapon. She can't do anything else. She flings her cape again but Jack grabs it in his fist.

VAN METER  
You very annoying!

Jack flicks the cape away and heads to Allison, delivering a punch at Allison's belly to cause her so much pain. He grabs her by throat and throws her to collide with a wall so hard. She loses consciousness.

E. Boykins has seen it, everything in his life almost stops. This stimulates his temper and his power beneath his brain. His phoenix force is unlocked. E. Boykins closes his eyes and thinks of Allison's face. He cries painfully as his eyes widen. Jack grabs his throat and lifts him up. His hands rise and grab Jack's hand, causing Jack to lower him down. Jack is confused with that.

VAN METER  
What the hell is this?

E. Boykins smirks. His eyes look demonic as he stands. Jack jerks his body to move but it seems charmed. E. Boykins stares at Jack's leg, his telekinetic power forcing Jack to kneel.

VAN METER  
What is this?

E. BOYKINS  
You are too evil. I'm sorry. I have to destroy  
you for human lives. Good bye, Jack Van Meter.

E. Boykins feels the texture of Jack, his molecular patterns and probes the whole hybrid body at a molecular or subatomic level.

John Henry and Skynet both stop fighting, looking at them.

John, Cameron and Sarah look to them.

Preecha eyes E. Boykins with hope.

The area they have stood become like a meteoritic hole. The tiles break into several very small pieces of molecule. Some of Jack's living tissues are being jerked off like it's gonna become several very small pieces of molecule and flow off like dust.

VAN METER  
It's you who's gonna die.

Jack increases to the peak level of his fake mind power but nothing's useful enough. E. Boykins stares harder. Around them, there is a storm of electricity and shockwave. The whole mental energy attack Jack apart on the molecular level. All Jack's fresh is peeled from his Kalibaium covered bones. Jack screams silently just before his brain becomes nothing and his endoskeleton lies down on floor and explodes into dust, falling to floor.

E. BOYKINS  
Easy killing.

E. Boykins looks to Skynet.

SKYNET  
What happened?

E. BOYKINS  
Now it's you and me.

Skynet pushes John Henry out of the way and rushes to E. Boykins who stretches his open hand, stopping him in the air. E. Boykins flicks his hand, his telekinetic power move Skynet flying backward to smash the central core.

E. Boykins lowers his hand. Suddenly, the whole central core explodes in the fiery explosion.

Preecha, is helped up to his feet by John Henry. They both go to join the Connors.

JOHN HENRY  
We gotta go.

John and Sarah support injured Cameron up and they get out of this chamber. E. Boykins just stares hard into the heap of fire, waiting.

**END OF ACT 7**

* * *

**THE EPILOGUE**

INT. SKYNET PASSAGEWAY – NIGHT

The Connors, Preecha and John Henry are running through the long passageway as fast as they can. In Sarah's hand, it's the remote detonator for time bombs.

JOHN  
How can we escape here? What about Stefan?

PREECHA  
He telepathized me that we should leave this  
place. He'll follow us soon. He just told us  
to leave and he'll destroy everything.

JOHN HENRY  
We should go as fast as we can.

They continue running with hesitaion.

INT. SKYNET CORE – NIGHT

E. Boykins still stands there like a statue, looking into collapsed core of Skynet. Skynet rises through cloud of smoke and steps forward.

SKYNET  
What are you trying to do?

E. BOYKINS  
I have two choices for you as well. Die or  
scan the network and delete all virus you  
released to the world computer servers.

SKYNET  
I'd like to play a game.

Skynet draws his hacksaw and rushes to E. Boykins. He attacks to image. The false E. Boykins dissipates into nothingness. Just then, the REAL E. BOYKINS materializes behind him.

E. BOYKINS  
Pathetic.

Skynet turns but E. Boykins disappears. Now there are only laughters around Skynet.

SKYNET  
What the hell is this?

E. BOYKINS (V.O.)  
At this point, I am mighty enough to play some  
electromagnetic waves with you like you did to us.

Skynet looks around and searches. The laughter is resounding.

E. BOYKINS (V.O.)  
(with a laugh)  
My old trick is to insert the code into human brain,  
causing them to see me as eihter others or nothing.  
But you are a robot, you don't have a human brain.

SKYNET  
What is this?

SKYNET'S H.U.D.: It's a kind of very intelligent system display with many scans(I.R. Mode, infrared, X-ray and more) in four small forms left side of the H.U.D. The cursor looks like the one in T-888's H.U.D. All GUIs are red hue and transparent. The cursor moves around, trying to find E. Boykins.

E. BOYKINS (V.O.)  
(with a laugh)  
You can't find me. I change frequency of  
electromagnetic wave of light a bit to make  
your sensor blind. You like your searching way.  
I think you can't find me. Everything around you  
is all electromagnet. Voices, sounds, pictures.

Skynet looks quite serious with this.

SKYNET  
Where are you?!

E. BOYKINS  
I'm here.

Skynet turns and sees E. Boykins on a left catwalk, walking.

E. BOYKINS  
No. No. I'm here.

Skynet turns back, seeing another E. Boykins on a right catwalk.

E. BOYKINS  
(like reverberation)  
No. I'm here. I'm here...

Skynet looks around and finds E. Boykinses around him. Which is which? Who's the real? Skynet draws his hacksaws on both hands and swings them around to one and another, they pass through. Instantly, another E. Boykins appears next to him, Skynet swings his hacksaws, but that too is an illusion. E. Boykins after E. Boykins appears, Skynet futilely swinging at each one, never making contact. Skynet falls back to his knees. The E. Boykinses grin as they raises their fists, encircling him.

E. BOYKINSES  
Sometimes humans are more clever than you.

SKYNET  
Yet still not clever enough.

With that, Skynet quickly stands, his MPA skins around his torso is peeled from his endoskeleton by himself, automatically summons lightning shock. A massive bolt strikes his endo, then channels outwards, splitting up, striking each one of the E. Boykinses. All of them dissipate into nothingness, save one - the (maybe)real E. Boykins - who's sent flying back across the way.

SKYNET  
What now, my friend?

Skynet walks over to E. Boykins and hammers his punch down, but passes through E. Boykins to punch the catwalk. It's illusion again. Skynet looks confused and hears E. Boykins' laugh.

SKYNET  
Okay. I'd like to play a game too.

Skynet glances to unconscious Allison.

SKYNET  
You can make unlimited illusion. I can't  
kill you but it doesn't mean I can't kill  
the one I can see.

Skynet heads toward Allison, rushing to the unconscious girl. E. Boykins appears in front, doesn't play again. He pushes Skynet away from Allison. Skynet falls onto the center of chamber.

INT. SKYNET LEVEL 1 PASSAGEWAY – SAME TIME

The resistance runs in another passageway. They stop when they hear...

E. BOYKINS (V.O.)  
You hear me?

JOHN  
Yes, Stefan.

E. BOYKINS (V.O.)  
Push the plunger. Bomb this place in a minute  
and go to see the police in the cafeteria.

JOHN  
But you and Allison will...

E. BOYKINS (V.O.)  
Don't care us. Just do what I said.

JOHN  
Okay. We will.

E. BOYKINS (V.O.)  
Thank you and see you later.

INT. SKYNET CORE – SAME TIME

Skynet rises with onboard plasma cannons. The time bombs around here start counting down.

SKYNET  
So you die.

Skynet fires blasts which go to E. Boykins who reaches his hand and his power reflexes the blast to Skynet. Skynet shrugs.

SKYNET  
This is nothing. What about this?

Skynet reaches through his skin and takes out a hypodermic syringe which is full of green liquid.

SKYNET  
Medium Seboneta Medicamento.

E. BOYKINS  
That's nothing too.

Skynet suddenly jumps to E. Boykins and injects the psychic hunter into his vien on his throat. E. Boykins doesn't even resist or attack, just that. Skynet throws the hype away after he has finished it.

SKYNET  
How does it feel like?

E. BOYKINS  
Hmm! Taste like cola.

SKYNET  
Why? No, no. This isn't right. This can't be right!

E. BOYKINS  
My turn.

E. Boykins stretches both hands to Skynet. Skynet's mimetic poly alloy is peeled from his endoskeleton into molecular level. The area they have stood become like a meteoritic hole. The tiles break into several very small pieces of molecule.

SKYNET  
(computer voice)  
No, this isn't right. I must win.

E. BOYKINS  
You can't win humanity anyway. Good bye.

E. Boykins stares harder. Around them, there is a storm of electricity and shockwave. The whole mental energy attack Jack apart on the molecular level. All Skynet's weapons are peeled from his Kalibaium endoskeleton. We see the hydrogen fuel cells become just molecules. Skynet screams silently just before his chip becomes nothing and his endoskeleton lies down on floor and explodes into dust, falling to floor.

E. BOYKINS  
Ashes to ashes, dust to dust.

E. Boykins steps off from the dust and kneels down near unconscious Allison, starts to wake her.

E. BOYKINS  
Allison, Allison, you hear me? It's me, Stefan.  
Wake up please. Allison, it's me. Open your eyes.

Allison gets about, opens her eyes to see her husband so gently waking her.

ALLISON  
(faintly)  
Stefan. Oh! My love.  
(hugging him gladly)  
I'm so happy you still live.

E. BOYKINS  
It ends. We gotta go.

He holds her onto his arms and walks off calmly. The time bombs stop counting and explode, filling frame with flame but only E. Boykins walks pass with some kind of mind power barrier covering both Allison and E. Boykins.

FIRE. SLOW, BOILING, ENORMOUS. FILLING FRAME.

DISSOLVE TO:

It's black but there is a montage of shots from television news about Kaliba Group investigation in the night and morning. The dialogue speaking...

MALE REPORTER  
After_ the investigation of two FBI agents tonight at  
Kaliba Group, Atlanta last night, the FBI agents  
report that there are many exhibits about the secret  
unauthorized ammunition accumulations of the company.  
They report that there are some ranking persons in USAF  
trying to assist and slander to two acquitted fugitives._

Showing picture of John and Sarah Connor...

MALE REPORTER (cont'd)  
_Despite this absolution isn't completed. Sarah and  
John Connor, her son, still have one criminal case  
that ten years ago, they killed Miles Dyson._

Now showing that Agent Auldridge is being interviewed by a reporter. Near him are all FBI agents and Agent Norgaard.

MALE REPORTER (cont'd)  
_The FBI has stated that they should appear and  
fight the lawsuit if they are really innocent._

DISSOLVE TO:

THE BLACKNESS OF A COUNTRY HIGHWAY AT NIGHT.

We're at ground level, speeding along the asphalt here's nothing to see, just the sensation of forward movement as our POV eats up mile after mile.

JOHN CONNOR (V.O.)  
And we won. Our sky after rain is very very  
beautiful, clear future, no more machines,  
Judgement day is no more. Computer don't take  
over the world. John Henry deleted those malwares  
out of all servers. We're on our own way. We're  
on our own lives. It'd been unclear so long.

The asphalt begins to show more definition, the road's yellow line clearer as the sky begins to lighten.

JOHN CONNOR (V.O.) (cont'd)  
Now it's clear. The cloud of darkness got pass.  
And it's the time for a beautiful daylight now.

It's early morning now. The lines fly by...We're speeding...

JOHN CONNOR (V.O.) (cont'd)  
It's the time for our freedom from illegal things...

INT. THE SPEEDING CAR – LATE MORNING

JOHN CONNOR (22), drives like a bat out of hell.

JOHN CONNOR (V.O.) (cont'd)  
...our true destination and our true lives.

EXT. A HOSPITAL – LATE MORNING – MINUTES LATER

SUPERINPOSE: "DECEMBER 22, 2012"

John Connor screeches to a stop. Jumps out. He's wearing a very formal suit with Zeira Corp logo and card.

INT. HOSPITAL RECOVERY ROOM – LATER

John storms into the room and sighs as he sees...

CAMERON CONNOR is lying on the bed. Besides her is a sleeping new born baby. SARAH CONNOR and KYLE REESE looking at the baby with love. KITTY CONNOR and KYLA CONNOR are lying asleep on sofa. They turn to John and give him smiles.

CAMERON  
John.

John is relieved from all worries, he closes the door and walks over to the bed. Kyle and Sarah with two babies walk off. John sits down near her.

JOHN  
Hi. Are you okay? How does it feel?

CAMERON  
Dead on my feet.

JOHN  
(re: the baby)  
Did you name him?

CAMERON  
Not yet.

Cameron grabs hold of John's hand as his eyes look to the baby.

CAMERON  
I have waited for you. You should name him.

John thinks for the name.

JOHN  
How is Jacob Connor?

CAMERON  
(with a smile)  
That's a good name.

John seems very happy to see his new boy. Cameron looks and smiles to him. John turns to Cameron.

JOHN  
He looks healthy.

CAMERON  
Like his father.

JOHN  
No.

John stands, leans closer and places a kiss on her forehead.

JOHN  
More like his mother. Cameron, I'm sorry for delay.

CAMERON  
No. Never mind it. John, can you stay here all day?

John smiles warmly.

JOHN  
Yes, I can. Nothing is more important than you.  
You can tell me whatever you want to do or eat.  
I'll try every way to indulge you. I love you.

CAMERON  
I love you too.

John gently kisses her cheeks and sits down next to her.

EXT. SIDEWALK NEAR HOSPITAL – LATE MORNING

There aren't many people walking and traffic is light. Kyle and Sarah walk down the sidewalk together.

SARAH  
Very lucky that you were there when her  
water broke. But I have a question.

KYLE  
What is it?

SARAH  
Why were you there?

They stop in front of a park. Kyle blushes.

KYLE  
I wanted to see you, Sarah. I have something  
very surprised to tell you. I just...yesterday,  
I...I bought two tickets for me and Stefan Jr.

Sarah looks in his eyes.

KYLE  
But Stefan had his date with Maggie. So...

SARAH  
So you want to ask me for a date.

KYLE  
Yes. Yes. That's it.

Sarah turns and walks away from him for a few steps. Kyle assumes that Sarah wouldn't like to go with him but Sarah smiles blashfully and turns back to look at burned Kyle.

SARAH  
Next time, don't implicate to other when  
you want to ask me out for date.

Kyle suddenly looks up, it's unexpected.

KYLE  
So you accept.

SARAH  
Yes. Come on.

Kyle quickly steps to Sarah. Then they walk together.

TILT UP, seeing the sun shines.

MATCHED CUT TO:

EXT. A HOUSE – NIGHT

From day becomes night: we realize that we're not in USA.

SUPERIMPOSE: "SI RACHA, CHONBURI, THAILAND"

TILT DOWN to reveal a single-storied house where has beautiful flowers garden in front and backyard garden. The house isn't too big. The fence is made of high quality wood. A garage is near the house, it has only one worn out truck there.

INT. BEDROOM – NIGHT

There are very big bed for a couple. A wooden wardrobe is in the right of the bedroom near the door. This room is painted pink and white. A window has one pink curtain. The bathroom is next door. Another door opens.

E. BOYKINS (O.S.)  
Okay, here. Allison, go straight. Four steps.

Blindfolded ALLISON PICHITCHAI (23) slowly enters the room, followed by WARAPOP PICHITCHAI nicknames STEFAN aka E. BOYKINS sitting on his carbon-fiber wheelchair.

ALLISON  
Okay. Then can I put this off?

E. BOYKINS  
Wait me a sec.

E. Boykins reaches his hand to close the door. He locks the door and wheels toward Allison.

E. BOYKINS  
Put it off.

Allison puts the blindfold off and sees the whole bedroom.

E. BOYKINS  
Surprise!

It's like a magic. Allison looks around the room, feeling its splendor of interior design. The bed, the view, the pink curtain, she likes it. Her smile hasn't faded. She's agape. She turns to E. Boykins with a happy look.

E. BOYKINS  
Do you like it, Stefan?

ALLISON  
(very impressed)  
Yeah, I like this room. I like it very much.

E. BOYKINS  
I did it with all my abilities.

ALLISON  
Oh! Stefan. It's really good and romantic.

E. BOYKINS  
I have hoped that tonight is really our night,  
Allison. I have done all this for you. I don't  
want anything from you. I just want to see you  
happy with this room and...

Allison silences him with her finger pressing over his lips.

ALLISON  
I know, Stefan. Don't say anything more.  
(kneeling down in front of him)  
Thank you for this room. Thank you for  
everything you have always given me.

E. Boykins touches her soft cheek.

E. BOYKINS  
I love you, that's all the answer.

ALLISON  
I love you too. Tonight I really wanna  
love you. Please let me love you, Stefan.

E. BOYKINS  
(with a shrug)  
Both my soul and my body belong to you.

ALLISON  
No. We belong together.

Allison leans closer him and kisses him. He kisses her back and savoring the flavor of her lips and tongue. Allison deepens the kiss as she holds him up with her trained strength and stamina.

They fall on the bed where she jumps on top of him. E. Boykins embraces her.

E. BOYKINS  
Let's do it.

Then they kiss on the bed passionately, make out.

DISSOLVE TO:

INT. BEDROOM – LATER

E. Boykins has held her in his arms for the longest time, enjoying the warmth of Allison's body against his as she snuggles against him during her sleep.

He kisses around her and strokes her sweaty brow. He gently supports her head onto pillow, letting her lying asleep on bed.

He moves to the edge of bed but Allison seizes his hand, still sleepy and languishes.

ALLISON  
(faintly)  
Where are you going? Don't leave me. I can't  
lie here without you. Please lie with me.

E. Boykins gently touches her hand, takes it off from his, and holds it in his hand.

E. BOYKINS  
Allison, I won't leave you. I just go for awhile.  
Our house musts be locked. I swear you I'll be back.

ALLISON  
Please come back as fast as you can.

E. BOYKINS  
I will.

E. Boykins places a gentle kiss on her hand, places it over her nudity and blankets her.

E. Boykins moves for his wheelchair.

EXT. BACKYARD GARDEN – NIGHT

E. Boykins dressed in pajamas, wheels from the front of house to backyard garden. He sees NEVLIN GLAU spading near the corner of their wooden fence. E. Boykins pumps his wheelchair through vegetable garden and plot to meet Nevlin.

NEVLIN  
I get closer to it, sir. Are you sure you  
really don't want to tell Allison about it?

E. BOYKINS  
I don't want her to be serious about it.

NEVLIN  
Closer to it, sir. My sensor is accurate enough.

E. Boykins looks to the hole. Nevlin spades it again and again until he finds some bright purple light under soil.

E. Boykins slowly stands from his wheelchair with the telekinetic support from his brain as Nevlin sweeps the soil away to see...

SOME KIND OF ENERGY SOURCE which is purple fluorescent bright octogon jewel. It sparks a bit with purple electric energy around it. It has much power in itself and no one only us knows its name as the ADOPTAGONIUM. Its light glows very very bright.

Nevlin reaches his hand to grab it but it shocks his hand. He quickly pulls his hand out.

NEVLIN  
More than I expected.

NEVLIN'S H.U.D.: Energy level is higher and all controls of Nevlin now become full-functional operation. His lower command display shows: "POWER RECHARGED SUCCESSFULLY" then it's replaced by "ENERGY LEVEL: 100 %".

Nevlin looks to his hand.

NEVLIN  
I can't touch it again. My power source  
will be overloaded. Can you try it, master?

E. BOYKINS  
Hmm! Interesting.

E. Boykins carefully stares and holds it in his hand. The bright light glows and shines to his face and everywhere else.

E. BOYKINS  
Glau, open your laboratory I told you to build.  
Starts your research on this thing. My father  
may like this thing very very much.

CLOSE ON THE ADOPTAGONIUM as it glows brighter. With this, we can sense some darkness beneath this thing. No matter, it's the Pichitchais' destination to face that darkness on their own way.

CUT TO BLACK:

SUPERIMPOSE: "THE END"

CREDITS RUNNING: Original story by Josh Friedman and TSCC development team. Fan-made third season and forth season by Stefan1994, eyeshieldTe, Snow Bell and Mario 28.

EXT. OUTER SPACE

This is in another garaxy and in...

SUPERIMPOSE: "PREVIOUS FUTURE, 2080"

The sun is like our son but the closest planet is bigger than Mercury. A spaceship looks like HK-AERIAL flies through us. We'll call it "HK-SPACESHIP". TRACK WITH IT as it goes through A GAS-GIANT PLANET, ringed with dozens of moons which cast beauty-mark shadows on its vast face, this planet is the same size with Jupiter.

OUR HK-SPACESHIP travels along the dark space to the third planet of this unknown solar system. This planet is weird green and surprisingly a bit Earth-like world. Its size is a bit bigger than our earth.

Another minute, and the HK pierces through its aerosphere.

EXT. THE UNKNOWN PLANET - TWILIGHT

This planet has green atmosphere and weird architectures which look a bit like Skynet's own design. HK-SPACESHIP from outer space moves and lands on a circular port on top of an enomous alien tower.

The cargo door opens. The T-2000 we already knew, KING JUPITER GODON(F04E09) exits the HK-SPACESHIP with two T-950 ENDOSKELETONS who are armed with old model Westinghouse plasma rifles.

TWO UNKNOWN ALIENS come to greet them. Each of them has a minotaur look with two ogre chews, snake eyes, red wind from exhaling and a mystic symbol on the head. Following them is the smaller one of them come to meet Jupiter. This one is wearing red metal armor with green cape. Its ogre chews are golden. It looks completely high ranking on this planet but something tells us that it's not the ruler.

It louts to Jupiter very politely and it has an androgynous voice. This one is the one Jupiter talked to sometime during the Utopian War.

AN ANDROGYNOUS VOICE  
Greeting, Mr. Jupiter. Welcome to Minoteos.

JUPITER  
It's good we can see you. This place is very far  
far away from my galaxy. I'm sorry for this delay.

Then they shake hands. Jupiter smiles friendly.

AN ANDROGYNOUS VOICE  
Did I just do anything wrong? Or isn't this  
how earthlings greet each other when they meet?

JUPITER  
No. Nothing. You did every right thing, pal.

AN ANDROGYNOUS VOICE  
Thank you for new knowledge, sir. This way.

The Minoteorians lead the way for Jupiter.

AN ANDROGYNOUS VOICE (cont'd)  
Our master wants to see you.

Jupiter smiles backslappingly and follows them. The T-950s just wait at their spaceship.

CUT TO BLACK AGAIN:

SUPERIMPOSE: "E. BOYKINS WILL RETURN AS A THAI SUPERHERO SOON..."

**END OF EPILOGUE**

**THE END (of the season 5)**


End file.
